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Bong Mines Entertainment (15 KP) rated Ella Mai by Ella Mai in Music
Jun 7, 2019 (Updated Jun 7, 2019)
Ella Mai is a talented R&B/Soul singer from London, England. Not too long ago, she released her deliciously impressive self-titled debut studio album, which uses her name as an acronym to communicate its message.
Ella Mai – “Good Bad”
‘Good Bad’ tells the story of a moody woman who’s not perfect. One day, she has a pleasant personality, and another, an attitude. If she was single, her behavior might go unnoticed, but the thing is she isn’t single.
She’s in an up-and-down relationship with a guy she desires. And oftentimes, he thinks she’s mad at him whenever she gets in one of her bad moods. Also, she knows her good side is the reason why he doesn’t get up and leave. But in a weird way, he likes her bad side.
‘Good Bad’ contains a relatable storyline, soul vocals, and a groovy neo-soul instrumentation produced by Nana Rogues.
Ella Mai – “Dangerous”
‘Dangerous’ tells the tale of a woman who’s in a loving relationship with a guy she’s deeply in love with. She cooks breakfast for him because he shows he deserves her love. But the danger comes in play when she risks it all by putting her all in their relationship, which has no guarantee.
‘Dangerous’ contains a romantic narrative, r&b/soul vocals, and a spunky Bryan-Michael Cox-produced instrumentation oozing with a poppin’ neo-dance flavor.
Ella Mai – “Sauce”
‘Sauce’ tells the tale of an attractive female with a confident, stylish nature. She’s in a new relationship with a guy who’s already head-over-heels in love with her. But the thing is they haven’t been together that long. Either he’s trippin’ or addicted to her sauce.
‘Sauce’ contains a relevant storyline, r&b/soul vocals, and bouncy instrumentation produced by Quintin Gulledge and DJ Mustard.
Ella Mai – “Whatchamacallit” feat. Chris Brown
‘Whatchamacallit’ tells a tale of a guy and a girl who’s in a secret relationship with each other. The woman has a boyfriend and the man has a girlfriend but that doesn’t stop them from committing a romantic crime. They know their sensual action is wrong, but it feels so right that they override their conscience.
‘Whatchamacallit’ contains an exciting storyline, wonderful soul vocals, and charismatic instrumentation produced by J Holt and DJ Mustard.
“Cheap Shot”
‘Cheap Shot’ tells the tale of a woman who has a dude who loves her, but she didn’t know beforehand how he felt until now. The term ‘cheap shop’ indicates that he takes advantage of her when she’s at her weakest point in life. A time when she just needs to chill instead of going through the emotions of love all over again.
‘Cheap Shots’ contains a relatable storyline, r&b soul vocals, and lush instrumentation produced by Harmony Samuels.
Ella Mai – “Shot Clock”
‘Shot Clock’ tells the tale of a woman who’s been dating a guy for five years. She thinks he’s playing games about commitment, therefore, she gives him 24-seconds to make a decision. But if the shot clock winds down to zero, he might find his babe in the arms of another man.
‘Shot Clock’ contains a relatable storyline, r&b/soul vocals, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Boo’d Up”
The video finds Ella and her man riding Go Karts inside an amusement area with several friends. The newly-formed couple is happy and boo’d up in public.
‘Boo’d Up’ is a contemporary love song that finds Ella reminiscing about a past lover. Although their relationship is over, she finds it hard getting over that special person who makes her heartbeat bounce abnormally.
‘Boo’d Up’ contains a relatable narrative, gorgeous soul vocals, and ear-welcoming instrumentation oozing with classic neo-soul elements. The track was produced by Larrance Dopson and DJ Mustard.
Ella Mai – “Everything” feat. John Legend
‘Everything’ tells a sweet tale of a woman who appreciates the guy she’s with. Both of them are giving their all to keep their relationship healthy. According to the woman, they have everything they want.
‘Everything’ contains a relatable storyline, soul-pop vocals, and lovely instrumentation produced by DJ Mustard, Dayyon Alexander, and Jeff Alexander.
“Own It”
‘Own It’ tells an erotic tale of a woman who’s ready to get down and dirty with her significant other. She has on a T-shirt and panties and he’s on his knees servicing her body. Fluids are dripping and they are talkin’ naughty to each other while making love all night long.
‘Own It’ contains a sexy narrative, soul vocals, and slow-grinding instrumentation produced by Kosine and Miykal Snoddy.
“Run My Mouth”
‘Run My Mouth’ tells a tale of a woman who’s in love with a guy she’s in a relationship with. She’s addicted to making love to him, and every time they make love she runs her mouth in a good way because the sex is good.
‘Run My Mouth’ contains a sexy storyline, charismatic vocals, and melodic-trap instrumentation produced by DJ Mustard.
“Gut Feeling” feat. H.E.R.
‘Gut Feeling’ tells the tale of a young woman; her intuition tells her that the guy she’s in love with is guilty of something. She searches his phone looking for clues of his infidelity but finds nothing. Later that day, she asks him to come clean if he’s doing something wrong such as cheating, etc.
‘Gut Feeling’ contains a relatable storyline, charming soul vocals, and lovely instrumentation produced by DJ Mustard.
Ella Mai – “Trip”
‘Trip’ tells the tale of a woman who’s addicted to making good love with her significant other. But when she doesn’t get it, she overreacts or gets bent out of shape.
‘Trip’ contains a relatable storyline, soothing soul vocals, and piano-laden instrumentation produced by Keys and DJ Mustard.
Ella Mai – “Close”
‘Close’ tells the tale of a woman who appreciates the man she’s in love with. All day every day she thinks about him. Apparently, she’s not an easy person to be with, but somehow, his easygoingness balances her nature when they are close in each other’s arms.
‘Close’ contains a sensual storyline, charming melodies, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Easy”
‘Easy’ tells the tale of a woman who’s in a new relationship with a guy she desires. Apparently, he’s a little uneasy about commitment. She reassures him that he should let his guard down and not worry. Therefore, she makes it easy for him to fall in love with her.
‘Easy’ contains an evergreen narrative, soul vocals, and ear-welcoming instrumentation produced by Lido and DJ Mustard.
Ella Mai – “Naked” (Bonus Track)
‘Naked’ tells the tale of a woman who’s looking for a guy who will love her unconditionally. Someone who will look past her flaws. Someone who will say she’s beautiful even when she doesn’t look the part.
‘Naked’ contains a relatable storyline, wonderful soul vocals, and sexy instrumentation produced by DJ Mustard.
“Ella Mai”
Ella Mai
In conclusion, Ella Mai’s self-titled debut studio album is a wonderful work of art. We totally enjoyed listening to each song from beginning to end.
Also, her voice sets a gorgeous tone while projecting an appealing and relatable narrative mostly focused on the up-side of romantic relationships, which contributes to the album’s feel-good vibe.
Mai’s first full-length offering is deliciously impressive and solidifies the London songstress at the helm of the contemporary R&B market.
https://www.bongminesentertainment.com/ella-mai-debut-album/
Ella Mai – “Good Bad”
‘Good Bad’ tells the story of a moody woman who’s not perfect. One day, she has a pleasant personality, and another, an attitude. If she was single, her behavior might go unnoticed, but the thing is she isn’t single.
She’s in an up-and-down relationship with a guy she desires. And oftentimes, he thinks she’s mad at him whenever she gets in one of her bad moods. Also, she knows her good side is the reason why he doesn’t get up and leave. But in a weird way, he likes her bad side.
‘Good Bad’ contains a relatable storyline, soul vocals, and a groovy neo-soul instrumentation produced by Nana Rogues.
Ella Mai – “Dangerous”
‘Dangerous’ tells the tale of a woman who’s in a loving relationship with a guy she’s deeply in love with. She cooks breakfast for him because he shows he deserves her love. But the danger comes in play when she risks it all by putting her all in their relationship, which has no guarantee.
‘Dangerous’ contains a romantic narrative, r&b/soul vocals, and a spunky Bryan-Michael Cox-produced instrumentation oozing with a poppin’ neo-dance flavor.
Ella Mai – “Sauce”
‘Sauce’ tells the tale of an attractive female with a confident, stylish nature. She’s in a new relationship with a guy who’s already head-over-heels in love with her. But the thing is they haven’t been together that long. Either he’s trippin’ or addicted to her sauce.
‘Sauce’ contains a relevant storyline, r&b/soul vocals, and bouncy instrumentation produced by Quintin Gulledge and DJ Mustard.
Ella Mai – “Whatchamacallit” feat. Chris Brown
‘Whatchamacallit’ tells a tale of a guy and a girl who’s in a secret relationship with each other. The woman has a boyfriend and the man has a girlfriend but that doesn’t stop them from committing a romantic crime. They know their sensual action is wrong, but it feels so right that they override their conscience.
‘Whatchamacallit’ contains an exciting storyline, wonderful soul vocals, and charismatic instrumentation produced by J Holt and DJ Mustard.
“Cheap Shot”
‘Cheap Shot’ tells the tale of a woman who has a dude who loves her, but she didn’t know beforehand how he felt until now. The term ‘cheap shop’ indicates that he takes advantage of her when she’s at her weakest point in life. A time when she just needs to chill instead of going through the emotions of love all over again.
‘Cheap Shots’ contains a relatable storyline, r&b soul vocals, and lush instrumentation produced by Harmony Samuels.
Ella Mai – “Shot Clock”
‘Shot Clock’ tells the tale of a woman who’s been dating a guy for five years. She thinks he’s playing games about commitment, therefore, she gives him 24-seconds to make a decision. But if the shot clock winds down to zero, he might find his babe in the arms of another man.
‘Shot Clock’ contains a relatable storyline, r&b/soul vocals, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Boo’d Up”
The video finds Ella and her man riding Go Karts inside an amusement area with several friends. The newly-formed couple is happy and boo’d up in public.
‘Boo’d Up’ is a contemporary love song that finds Ella reminiscing about a past lover. Although their relationship is over, she finds it hard getting over that special person who makes her heartbeat bounce abnormally.
‘Boo’d Up’ contains a relatable narrative, gorgeous soul vocals, and ear-welcoming instrumentation oozing with classic neo-soul elements. The track was produced by Larrance Dopson and DJ Mustard.
Ella Mai – “Everything” feat. John Legend
‘Everything’ tells a sweet tale of a woman who appreciates the guy she’s with. Both of them are giving their all to keep their relationship healthy. According to the woman, they have everything they want.
‘Everything’ contains a relatable storyline, soul-pop vocals, and lovely instrumentation produced by DJ Mustard, Dayyon Alexander, and Jeff Alexander.
“Own It”
‘Own It’ tells an erotic tale of a woman who’s ready to get down and dirty with her significant other. She has on a T-shirt and panties and he’s on his knees servicing her body. Fluids are dripping and they are talkin’ naughty to each other while making love all night long.
‘Own It’ contains a sexy narrative, soul vocals, and slow-grinding instrumentation produced by Kosine and Miykal Snoddy.
“Run My Mouth”
‘Run My Mouth’ tells a tale of a woman who’s in love with a guy she’s in a relationship with. She’s addicted to making love to him, and every time they make love she runs her mouth in a good way because the sex is good.
‘Run My Mouth’ contains a sexy storyline, charismatic vocals, and melodic-trap instrumentation produced by DJ Mustard.
“Gut Feeling” feat. H.E.R.
‘Gut Feeling’ tells the tale of a young woman; her intuition tells her that the guy she’s in love with is guilty of something. She searches his phone looking for clues of his infidelity but finds nothing. Later that day, she asks him to come clean if he’s doing something wrong such as cheating, etc.
‘Gut Feeling’ contains a relatable storyline, charming soul vocals, and lovely instrumentation produced by DJ Mustard.
Ella Mai – “Trip”
‘Trip’ tells the tale of a woman who’s addicted to making good love with her significant other. But when she doesn’t get it, she overreacts or gets bent out of shape.
‘Trip’ contains a relatable storyline, soothing soul vocals, and piano-laden instrumentation produced by Keys and DJ Mustard.
Ella Mai – “Close”
‘Close’ tells the tale of a woman who appreciates the man she’s in love with. All day every day she thinks about him. Apparently, she’s not an easy person to be with, but somehow, his easygoingness balances her nature when they are close in each other’s arms.
‘Close’ contains a sensual storyline, charming melodies, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Easy”
‘Easy’ tells the tale of a woman who’s in a new relationship with a guy she desires. Apparently, he’s a little uneasy about commitment. She reassures him that he should let his guard down and not worry. Therefore, she makes it easy for him to fall in love with her.
‘Easy’ contains an evergreen narrative, soul vocals, and ear-welcoming instrumentation produced by Lido and DJ Mustard.
Ella Mai – “Naked” (Bonus Track)
‘Naked’ tells the tale of a woman who’s looking for a guy who will love her unconditionally. Someone who will look past her flaws. Someone who will say she’s beautiful even when she doesn’t look the part.
‘Naked’ contains a relatable storyline, wonderful soul vocals, and sexy instrumentation produced by DJ Mustard.
“Ella Mai”
Ella Mai
In conclusion, Ella Mai’s self-titled debut studio album is a wonderful work of art. We totally enjoyed listening to each song from beginning to end.
Also, her voice sets a gorgeous tone while projecting an appealing and relatable narrative mostly focused on the up-side of romantic relationships, which contributes to the album’s feel-good vibe.
Mai’s first full-length offering is deliciously impressive and solidifies the London songstress at the helm of the contemporary R&B market.
https://www.bongminesentertainment.com/ella-mai-debut-album/
Connor Sheffield (293 KP) rated Bloodborne in Video Games
Aug 13, 2018
Incredible atmosphere (5 more)
Great variety of enemies
Beautiful art and imagery
Interesting Lore (optional)
Plenty of different ways to play
Great combat mechanics
Can be difficult (1 more)
Not as easy and some people make it look
Challenging and Satisfying
Contains spoilers, click to show
Bloodborne is part of the famous series of games such as Demon Souls and Dark Souls, which if you know those previous games, you'll know that they are infamous for their difficulty, even spawning an entire meme phrase that simply says "git gud".
Bloodborne however, stands aside from the souls series because it's combat mechanics are faster and each enemy requires the player to evolve their skills and tactics in order to progress. The first major difference in Bloodborne that might throw previous souls players off, is the fact that there is no shield. Instead the Hunter wields a right handed melee weapon and in the left hand they wild a ranged weapon in place of a shield. This ranged weapon at first is primarily used not for damage, but for parry's/counter attacks.
The lack of shield helps the player evolve their combat from hiding behind a shield like in the souls games, to being more aggressive in a fight but also tactical because during your first run through of the game, you'll simply be dealing with each enemy through trial and error until you learn their attacks and learn how to defeat them. This is something that has been in every souls game and that is why these games are so rewarding.
The reason Bloodborne is my favourite is because of this speed that makes you evolve in combat. I ran into this game thinking it was like other RPG games where I could pretty much take on any beginning level enemy and even if they packed a punch I'd take out the enemy with a thin line of health left, only to use a few health potions and repeat. But Bloodborne? Good God you can't rush this game!
Every enemy has their own attack system that varies. Some Yarnhamites are more vicious that other, and some are more defensive and cautious. There are also enemies that are deceptive. If you were to come across a large, fat troll in a fantasy world, you'd expect them to be rather slow, especially when swinging a weapon. You'd only expect the force and weight of the weapon to give speed to a swing. But the large troll creatures in Bloodborne are deceptively fast and even if you keep some distance between you, they can leap really quickly and instantly pummel you with a cinder block.
But I'm not going to reveal too much about enemies because it's easier and more fun to test out the game for yourself.
Boss fights are the main factor for the infamous difficulty of the souls series and Bloodborne is no stranger to this element either. There are Two bosses in the beginning of the game. One is optional but I would highly recommend facing it. The other boss is your first taste (if you didn't kill the optional boss first) of the challenges you'll face. Both bosses help prepare for later boss fights because of their different combat styles.
The first (optional) boss is the Cleric Beast on the bridge in the beginning level, and it is intimidating as fuck for a beginner of the souls series. If you haven't watched or played a souls game before and you go into Bloodborne (or any of them) with no knowledge of the scale of bosses, then they are intimidating in comparison to your measly character size. However once you learn this boss, and face later bosses, you'll realize that this boss is one of the easiest to face.
The next boss and the main boss of the beginning level, who is not optional as defeating him let's you progress through the story, is Father Gascoigne, another Hunter in the world of Bloodborne and the first of many you'll come across but facing this hunter is by far one of the most painstakingly challenging beginning fights to a game I've ever had to face. In my first run through I died to him so so soooo many times and sometimes it was simply cos he was on low health and I got cocky and fucked up. However defeating this boss, and any boss in this game, really feels like an achievement.
I've realised iv made this review hella long but that's because Bloodborne cannot be easily reviewed in just a few words but I'll do my best to do a quick overall conclusion as to why this is my favourite game:
The level design isn't flawless but it is incredible and the atmosphere created through sound design and soundtrack make this game incredibly in depth and really creepy which I love because even after a few play through I still get creeped out and even jump at some of the jumpscares that I forget about!
The weapons of this game are all well designed aesthetically and though I know certain ones I never use, they are all useable depending on player preference and style of play. There's so much to choose from and learn and every item in this game has a description that teaches the player more about the Lore of the world but that is of course optional and isn't required necessarily to understand the games main quest plot.
This game also requires exploration because the path the player needs to take isn't set out for them which makes the game less linear meaning that you can play this game differently every time you play it. It also might mean that you'll need to look up the paths you need to take online or in a guide in order to just get through the game and complete it. Otherwise it could take you hours, maybe days to figure out where you need to go.
The combat mechanics of Bloodborne are some of the best I've ever seen and played with and that's why it stands out to me above the other souls games.
The boss fights are intense and each new boss helps the player to adapt and evolve their combat skills and tactics in order to overcome the enemy.
The world is very heavily Lovecraftian and therefore the Lore is incredible but also optional. Also, there are easier ways to fight this games enemies including bosses, so if you're struggling, then Google it and there will be hundreds of players in the same boat as you, and in my opinion there's no wrong way to play games like this. If it remains fun and let's me complete the storyline, such as summoning AI for boss battles in offline mode. Then play however you want to because it's you playing the game, not some internet troll who says you're shit and/or cheating the game. If it's possible to do in game, it's part of the game...deal with it!
There are faults such as minor framerate glitches, and glitches with the ragdoll bodies of defeated enemies falling through the environment. There are also some elements that are part of the game such as windows for visceral attacks and hitboxes which sometimes feel like bullshit, but this also helps you evolve so....pros and cons.
My final comment is this;
The best way to learn about this game and enjoy it, is to play it for yourself. It's hard to put into words (even this amount of words in this review) just how incredible this game looks and feels. So if you have a Playstation 4 then grab yourself a copy of Bloodborne and enjoy!
Fear the Old blood!
Bloodborne however, stands aside from the souls series because it's combat mechanics are faster and each enemy requires the player to evolve their skills and tactics in order to progress. The first major difference in Bloodborne that might throw previous souls players off, is the fact that there is no shield. Instead the Hunter wields a right handed melee weapon and in the left hand they wild a ranged weapon in place of a shield. This ranged weapon at first is primarily used not for damage, but for parry's/counter attacks.
The lack of shield helps the player evolve their combat from hiding behind a shield like in the souls games, to being more aggressive in a fight but also tactical because during your first run through of the game, you'll simply be dealing with each enemy through trial and error until you learn their attacks and learn how to defeat them. This is something that has been in every souls game and that is why these games are so rewarding.
The reason Bloodborne is my favourite is because of this speed that makes you evolve in combat. I ran into this game thinking it was like other RPG games where I could pretty much take on any beginning level enemy and even if they packed a punch I'd take out the enemy with a thin line of health left, only to use a few health potions and repeat. But Bloodborne? Good God you can't rush this game!
Every enemy has their own attack system that varies. Some Yarnhamites are more vicious that other, and some are more defensive and cautious. There are also enemies that are deceptive. If you were to come across a large, fat troll in a fantasy world, you'd expect them to be rather slow, especially when swinging a weapon. You'd only expect the force and weight of the weapon to give speed to a swing. But the large troll creatures in Bloodborne are deceptively fast and even if you keep some distance between you, they can leap really quickly and instantly pummel you with a cinder block.
But I'm not going to reveal too much about enemies because it's easier and more fun to test out the game for yourself.
Boss fights are the main factor for the infamous difficulty of the souls series and Bloodborne is no stranger to this element either. There are Two bosses in the beginning of the game. One is optional but I would highly recommend facing it. The other boss is your first taste (if you didn't kill the optional boss first) of the challenges you'll face. Both bosses help prepare for later boss fights because of their different combat styles.
The first (optional) boss is the Cleric Beast on the bridge in the beginning level, and it is intimidating as fuck for a beginner of the souls series. If you haven't watched or played a souls game before and you go into Bloodborne (or any of them) with no knowledge of the scale of bosses, then they are intimidating in comparison to your measly character size. However once you learn this boss, and face later bosses, you'll realize that this boss is one of the easiest to face.
The next boss and the main boss of the beginning level, who is not optional as defeating him let's you progress through the story, is Father Gascoigne, another Hunter in the world of Bloodborne and the first of many you'll come across but facing this hunter is by far one of the most painstakingly challenging beginning fights to a game I've ever had to face. In my first run through I died to him so so soooo many times and sometimes it was simply cos he was on low health and I got cocky and fucked up. However defeating this boss, and any boss in this game, really feels like an achievement.
I've realised iv made this review hella long but that's because Bloodborne cannot be easily reviewed in just a few words but I'll do my best to do a quick overall conclusion as to why this is my favourite game:
The level design isn't flawless but it is incredible and the atmosphere created through sound design and soundtrack make this game incredibly in depth and really creepy which I love because even after a few play through I still get creeped out and even jump at some of the jumpscares that I forget about!
The weapons of this game are all well designed aesthetically and though I know certain ones I never use, they are all useable depending on player preference and style of play. There's so much to choose from and learn and every item in this game has a description that teaches the player more about the Lore of the world but that is of course optional and isn't required necessarily to understand the games main quest plot.
This game also requires exploration because the path the player needs to take isn't set out for them which makes the game less linear meaning that you can play this game differently every time you play it. It also might mean that you'll need to look up the paths you need to take online or in a guide in order to just get through the game and complete it. Otherwise it could take you hours, maybe days to figure out where you need to go.
The combat mechanics of Bloodborne are some of the best I've ever seen and played with and that's why it stands out to me above the other souls games.
The boss fights are intense and each new boss helps the player to adapt and evolve their combat skills and tactics in order to overcome the enemy.
The world is very heavily Lovecraftian and therefore the Lore is incredible but also optional. Also, there are easier ways to fight this games enemies including bosses, so if you're struggling, then Google it and there will be hundreds of players in the same boat as you, and in my opinion there's no wrong way to play games like this. If it remains fun and let's me complete the storyline, such as summoning AI for boss battles in offline mode. Then play however you want to because it's you playing the game, not some internet troll who says you're shit and/or cheating the game. If it's possible to do in game, it's part of the game...deal with it!
There are faults such as minor framerate glitches, and glitches with the ragdoll bodies of defeated enemies falling through the environment. There are also some elements that are part of the game such as windows for visceral attacks and hitboxes which sometimes feel like bullshit, but this also helps you evolve so....pros and cons.
My final comment is this;
The best way to learn about this game and enjoy it, is to play it for yourself. It's hard to put into words (even this amount of words in this review) just how incredible this game looks and feels. So if you have a Playstation 4 then grab yourself a copy of Bloodborne and enjoy!
Fear the Old blood!
Purple Phoenix Games (2266 KP) rated Trogdor!!: The Board Game in Tabletop Games
Aug 8, 2019
I cannot possible explain to you how many hours of my college career were spent LMBO at the homestarrunner.com website. Teen Girl Squad. Strong Bad E-mails. The incredible Halloween episodes. If you know what I’m talking about, I hope you enjoyed some sense of beautiful nostalgia just now. So when I saw that someone was making a board game based on a secondary (or a thirdedary) character from one of my favorite websites from my not-so-youth I knew it would be mine someday. That day has come and I am here to report my thoughts on Trogdor!! The Board Game.
Trogdor!! The Board Game, which I’m just gonna start calling Trogdor!!, is a cooperative area burninating puzzle adventure game for only the coolest of the cool. The twist on this game, if you are unfamiliar with Trogdor or Homsar, is that the players are all essentially cultists who assist Trogdor to burninate the countryside, all the cottages, and chomp the peasants or send them to the Void.
DISCLAIMER: Though this was Kickstarted, I did not splurge on the deluxe version, so I have the meepled version and it does just fine. Furthermore, I do not intend to cover every single rule included in the rule book, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy from the publisher directly or from your FLGS. -T
To setup the game (and I found this part tedious) lay out the countryside tiles according to one of the suggested layouts in the back of the rule book or simply wherever you want in a 5×5 grid. This is your game board now. Also place out the thatched-roof cottages, peasants, knights, and archers. Trogdor starts the game in the middle tile, prepped for his burnination run. Each player also receives a Keeper of Trogdor persona card that provides special abilities, an item card that can be used during play, and an action card that determines how many action points a player may use as well as possibly special abilities to use for the turn. Troghammer starts the game on the Trog-meter, ready to come onto the board to wreak hammery havoc on our hero.
A turn consists of two phases. The first phase has the current player drawing an action card which intimates the number of action points (AP) the player can use for actions: Move Trogdor one space orthogonally, Chomp a peasant to increase health, Burninate a tile/cottage/peasant, Burrow into a tunnel and pop out the other side, or Hide in the mountains. Movement is easy: move Trogdor one space per AP you’d like to spend. Chomping requires Trogdor to be on the same tile as a peasant, but then you can chow down on them to increase our deity’s health bar. Burninating also requires Trogdor to be on the same tile as the tile/cottage/peasant you want to burninate. The Lake tile has special burninating rules, as do thatched-roof cottages. I will also allow you to learn about burninating peasants on your own, as it is pretty amazing. Burrowing requires Trogdor to be on a tunnel tile and spend an AP to teleport to the other tunnel (a la Small World). Trogdor may also simply Hide on a mountain tile to be protected from the attackers that act during the next phase. If players to not like either the action card they were dealt or the card they drew, they may simply discard a card to take their turn with 5 AP and no special abilities.
The next phase is where the board elements do their thang. The active player will draw and play a movement card. From instructions on this card the board may spawn more peasants, will move the peasants, will move the knights and also archers. Peasants do not fight Trogdor, but they can possibly repair burninated tiles. Knights WILL hurt Trogdor whenever they pass through or end their turn on the same tile as Trogdor. Knights will also automatically repair any burninated thatched-roof cottages they pass through. Troghammer is a special knight who only comes into play once Trogdor is hurt the first time. Archers will attack an entire column or row depending on which direction they were traveling when they ended their movement. If Trogdor still has peasants on the Trog-meter (representing health), then the next player takes their turn. If Trogdor has no more health and he is hit again, he enters a fiery RAGE! I will let you discover what happens during this event also.
The players win when all the tiles, cottages, and peasants have been burninated or eliminated from the board. They lose when Trogdor is defeated and they have not completed their victory conditions.
Components. It’s always so hard to really know exactly what you will be receiving when you Kickstart a game. Especially from a company not known for board games, and which has never produced a board game. So, I was anticipating something entirely different as I was opening my box. This is what I received: excellent tiles with UV spot on each side (super fancy!). I usually don’t care about UV spot anywhere on my game, but that seems to be en vogue now, so I’ll just try to enjoy it when I can. The other cardboard bits are great too. The cards are of great quality, but I went ahead and sleeved the action and movement cards since I knew they would be handled quite a bit. The Trogeeples (jeez) all are of great quality, and I really appreciate the additional Trogdor meeples included. I had a big chuckle about that. The artwork is comical (like in a comic) and I also appreciated all the Strong Bad enhancements as well. The only negative I have about the components of the game is the ridiculous thin box of air that was included as a buffer near the insert. I threw it out, put my sleeved action and movement cards in a plastic deck box in its place and now I’m much happier.
Overall, I had such a blast playing this game. Is it mostly due to nostalgia and reverie? Perhaps. But, Bryan was playing this with us and he didn’t know anything about Trogdor or Homestar Runner. He also really enjoyed the game, so I think the level of familiarity doesn’t matter. Obviously I did not explain EVERY rule to the game, but hopefully by my quick description my readers get a good idea of how the game plays. I can honestly say that I love love love this game and will treasure it always. If/when I see this at my FLGS I may just buy up all the copies to give as gifts. It’s really good. That’s why Purple Phoenix Games give this one an MSG’d 15 / 18. Oh, and you’re welcome for my holding back of all the quotes I COULD HAVE put in this review. I could have really earned my nerd card renewal.
Trogdor!! The Board Game, which I’m just gonna start calling Trogdor!!, is a cooperative area burninating puzzle adventure game for only the coolest of the cool. The twist on this game, if you are unfamiliar with Trogdor or Homsar, is that the players are all essentially cultists who assist Trogdor to burninate the countryside, all the cottages, and chomp the peasants or send them to the Void.
DISCLAIMER: Though this was Kickstarted, I did not splurge on the deluxe version, so I have the meepled version and it does just fine. Furthermore, I do not intend to cover every single rule included in the rule book, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy from the publisher directly or from your FLGS. -T
To setup the game (and I found this part tedious) lay out the countryside tiles according to one of the suggested layouts in the back of the rule book or simply wherever you want in a 5×5 grid. This is your game board now. Also place out the thatched-roof cottages, peasants, knights, and archers. Trogdor starts the game in the middle tile, prepped for his burnination run. Each player also receives a Keeper of Trogdor persona card that provides special abilities, an item card that can be used during play, and an action card that determines how many action points a player may use as well as possibly special abilities to use for the turn. Troghammer starts the game on the Trog-meter, ready to come onto the board to wreak hammery havoc on our hero.
A turn consists of two phases. The first phase has the current player drawing an action card which intimates the number of action points (AP) the player can use for actions: Move Trogdor one space orthogonally, Chomp a peasant to increase health, Burninate a tile/cottage/peasant, Burrow into a tunnel and pop out the other side, or Hide in the mountains. Movement is easy: move Trogdor one space per AP you’d like to spend. Chomping requires Trogdor to be on the same tile as a peasant, but then you can chow down on them to increase our deity’s health bar. Burninating also requires Trogdor to be on the same tile as the tile/cottage/peasant you want to burninate. The Lake tile has special burninating rules, as do thatched-roof cottages. I will also allow you to learn about burninating peasants on your own, as it is pretty amazing. Burrowing requires Trogdor to be on a tunnel tile and spend an AP to teleport to the other tunnel (a la Small World). Trogdor may also simply Hide on a mountain tile to be protected from the attackers that act during the next phase. If players to not like either the action card they were dealt or the card they drew, they may simply discard a card to take their turn with 5 AP and no special abilities.
The next phase is where the board elements do their thang. The active player will draw and play a movement card. From instructions on this card the board may spawn more peasants, will move the peasants, will move the knights and also archers. Peasants do not fight Trogdor, but they can possibly repair burninated tiles. Knights WILL hurt Trogdor whenever they pass through or end their turn on the same tile as Trogdor. Knights will also automatically repair any burninated thatched-roof cottages they pass through. Troghammer is a special knight who only comes into play once Trogdor is hurt the first time. Archers will attack an entire column or row depending on which direction they were traveling when they ended their movement. If Trogdor still has peasants on the Trog-meter (representing health), then the next player takes their turn. If Trogdor has no more health and he is hit again, he enters a fiery RAGE! I will let you discover what happens during this event also.
The players win when all the tiles, cottages, and peasants have been burninated or eliminated from the board. They lose when Trogdor is defeated and they have not completed their victory conditions.
Components. It’s always so hard to really know exactly what you will be receiving when you Kickstart a game. Especially from a company not known for board games, and which has never produced a board game. So, I was anticipating something entirely different as I was opening my box. This is what I received: excellent tiles with UV spot on each side (super fancy!). I usually don’t care about UV spot anywhere on my game, but that seems to be en vogue now, so I’ll just try to enjoy it when I can. The other cardboard bits are great too. The cards are of great quality, but I went ahead and sleeved the action and movement cards since I knew they would be handled quite a bit. The Trogeeples (jeez) all are of great quality, and I really appreciate the additional Trogdor meeples included. I had a big chuckle about that. The artwork is comical (like in a comic) and I also appreciated all the Strong Bad enhancements as well. The only negative I have about the components of the game is the ridiculous thin box of air that was included as a buffer near the insert. I threw it out, put my sleeved action and movement cards in a plastic deck box in its place and now I’m much happier.
Overall, I had such a blast playing this game. Is it mostly due to nostalgia and reverie? Perhaps. But, Bryan was playing this with us and he didn’t know anything about Trogdor or Homestar Runner. He also really enjoyed the game, so I think the level of familiarity doesn’t matter. Obviously I did not explain EVERY rule to the game, but hopefully by my quick description my readers get a good idea of how the game plays. I can honestly say that I love love love this game and will treasure it always. If/when I see this at my FLGS I may just buy up all the copies to give as gifts. It’s really good. That’s why Purple Phoenix Games give this one an MSG’d 15 / 18. Oh, and you’re welcome for my holding back of all the quotes I COULD HAVE put in this review. I could have really earned my nerd card renewal.
Purple Phoenix Games (2266 KP) rated Tail Story in Tabletop Games
Jul 1, 2020
The saying goes, “If you can dream it, you can achieve it.” I know there were points in my life when I wanted to be a rock star, a zookeeper, or even a professional mascot. But who says that dreams only apply to people? Our beloved pets can dream too! Haven’t you ever seen a sleeping pup, legs twitching from an imaginary chase? Or caught your cat prowling around, as if on a secret mission? What do animals dream about? Well, Tail Story allows you to create dreams and achieve the impossible with your chosen pet!
Disclaimer: We were provided with a preview copy of Tail Story for the purposes of this review. Some of the components pictured are not final, and will be addressed in production. Also, I do not intend to rehash the entire rulebook, but rather provide an overview of the rules and game flow. -L
Tail Story is a competitive card game in which players are racing to become the most memorable pet in history! How? By partaking in various events and gathering a total of 4 Achievements. Here’s how it works. To setup, each player takes a player mat, and randomly draws a Queue Card. Players then get to choose a Character card – a pet from either the Canine, Feline, or Rodent & Friends type. Shuffle the Event cards, deal 15 to each player, everyone draws 5 cards to their hand, and the game is ready to begin! The player who drew Queue Card 1 is the first player, and play continues in numerical order.
Each turn consists of 5 steps: Draw, Play, Bonus, Deck Check, and End of Turn. The first step is always to Draw 1 card from your deck. In the Play Step, you choose one action to perform. Each player has 2 Action Points (AP) per turn, and those are spent here in the Play Step. All Event cards require either 1 or 2 AP to play, and the other standard actions in the Play Step require either 0 or 1 AP to perform (Check out the Reference Cards pictured below to see the possible actions). After performing 1 action, you move to the Bonus Step, where a player may choose to activate a Bonus ability. The Deck Check step is next. All players count how many cards remain in their Draw piles. If all decks still have at least 1 card, you jump back to the Play Step and perform another action. If any deck is out of cards, that player reshuffles their discard pile, and places a card from their hand face-down on their player mat to signify that they have collected an Achievement. Even if another player collects an Achievement on your turn, play then returns to you, and you jump back to the Play Step again. The last step is the End of Turn – a player decides to be done and ends their turn, discarding their hand down to 5 cards. The game ends when a player has collected their 4th Achievement.
Here’s a neat twist though – whenever you play a card, any opponent can choose to play a Stop card to prevent you from performing that action! And then, if you have a Stop card too, you could play it to cancel out their Stop card. This twist adds a strategic and competitive element to the game that elevates it to the next level. There’s a fun little element of role-play too that encourages you to get into your animal character – I’ll leave that for you to discover on your own!
I know that seems like quite a lot, but once you get into the swing of things, Tail Story plays pretty quickly. One thing I particularly like about this game is that it requires a decent amount of strategy. Everyone is racing to get through their Draw decks and collect Achievements, while at the same time hindering the progress of their opponents. Are you willing to risk a valuable Stop card to cancel the action of an opponent and hope that they don’t play a Stop card back to you? Should you play a card that could activate your Bonus ability now or wait for your next action to pull a fast one over on your opponents? Your strategy has to be adjustable on the fly depending on what cards your opponents are playing. There is no single right strategy to win, and the riskiness makes the game more exciting and engaging.
Another thing I really like about Tail Story is that there are really only 4 different Event cards that can be played. Yes, the artwork may vary, but ultimately the actions are the same. They rely on key text and color coding to communicate their uses, and after a few rounds, recognizing those effects is easy. One thing I wish is that the reference cards had these effect explanation instead of only being listed in the rulebook. Just for a quick glance if you need a reminder instead of having to look back in the rules for the full text. The reference cards do have the Turn Steps and possible Actions on them, which are helpful – don’t get me wrong!
I would recommend Tail Story at the higher player counts for maximum enjoyment. With only 2 players, it feels like it drags on a bit because it is only a back-and-forth game. With 3-4 players, you have more opponents with which to interact, and playing cards against others doesn’t feel as targeted and keeps the game play more light-hearted than cut-throat.
Let’s talk about components. As I mentioned earlier, this is only a preview copy of the game, so some elements are still not finalized. The player mats are only paper right now, but I anticipate that they will be sturdier in final production. That being said, the information on the player mats is awesome. They provide enough information to understand where everything goes, while not being so wordy that they are confusing. I am excited to see what kind of color scheme they come up with for the player mats, to match the artwork of the cards. On to the cards – they are amazing. For starters, the cards are nice, sturdy, and thick. Definitely a game that will not easily succumb to bent corners or torn cards. The actual artwork of the cards is perfect. Each card is detailed, colorful, and appropriate for their respective card names. Probably the coolest part of the cards is that they all have a holographic finish on them. This really makes the artwork pop and makes you admire every card instead of just reading the text. That being said, the holographic finish makes the cards stick together a little more – not a huge detriment, but something to be aware of and careful with when drawing or playing cards! The game box is a cute little box with a magnet closure that is perfect for easy transportation.
Overall, I would say that I love Tail Story. It’s fun, fast-paced, strategic, and exciting. Being able to choose from 3 Character types (Canine, Feline, Rodent & Friends) gives you the opportunity to play a different game, with a different strategy, every time. With more plays, the special text of cards is engrained in your head, which means that it can play even faster and with no interruptions to check rules. It’s definitely a memorable game, and one that I can see myself pulling out often on game nights. I am excited to see this campaign launch, and for the sake of all animal dreams out there, you should check it out!
Disclaimer: We were provided with a preview copy of Tail Story for the purposes of this review. Some of the components pictured are not final, and will be addressed in production. Also, I do not intend to rehash the entire rulebook, but rather provide an overview of the rules and game flow. -L
Tail Story is a competitive card game in which players are racing to become the most memorable pet in history! How? By partaking in various events and gathering a total of 4 Achievements. Here’s how it works. To setup, each player takes a player mat, and randomly draws a Queue Card. Players then get to choose a Character card – a pet from either the Canine, Feline, or Rodent & Friends type. Shuffle the Event cards, deal 15 to each player, everyone draws 5 cards to their hand, and the game is ready to begin! The player who drew Queue Card 1 is the first player, and play continues in numerical order.
Each turn consists of 5 steps: Draw, Play, Bonus, Deck Check, and End of Turn. The first step is always to Draw 1 card from your deck. In the Play Step, you choose one action to perform. Each player has 2 Action Points (AP) per turn, and those are spent here in the Play Step. All Event cards require either 1 or 2 AP to play, and the other standard actions in the Play Step require either 0 or 1 AP to perform (Check out the Reference Cards pictured below to see the possible actions). After performing 1 action, you move to the Bonus Step, where a player may choose to activate a Bonus ability. The Deck Check step is next. All players count how many cards remain in their Draw piles. If all decks still have at least 1 card, you jump back to the Play Step and perform another action. If any deck is out of cards, that player reshuffles their discard pile, and places a card from their hand face-down on their player mat to signify that they have collected an Achievement. Even if another player collects an Achievement on your turn, play then returns to you, and you jump back to the Play Step again. The last step is the End of Turn – a player decides to be done and ends their turn, discarding their hand down to 5 cards. The game ends when a player has collected their 4th Achievement.
Here’s a neat twist though – whenever you play a card, any opponent can choose to play a Stop card to prevent you from performing that action! And then, if you have a Stop card too, you could play it to cancel out their Stop card. This twist adds a strategic and competitive element to the game that elevates it to the next level. There’s a fun little element of role-play too that encourages you to get into your animal character – I’ll leave that for you to discover on your own!
I know that seems like quite a lot, but once you get into the swing of things, Tail Story plays pretty quickly. One thing I particularly like about this game is that it requires a decent amount of strategy. Everyone is racing to get through their Draw decks and collect Achievements, while at the same time hindering the progress of their opponents. Are you willing to risk a valuable Stop card to cancel the action of an opponent and hope that they don’t play a Stop card back to you? Should you play a card that could activate your Bonus ability now or wait for your next action to pull a fast one over on your opponents? Your strategy has to be adjustable on the fly depending on what cards your opponents are playing. There is no single right strategy to win, and the riskiness makes the game more exciting and engaging.
Another thing I really like about Tail Story is that there are really only 4 different Event cards that can be played. Yes, the artwork may vary, but ultimately the actions are the same. They rely on key text and color coding to communicate their uses, and after a few rounds, recognizing those effects is easy. One thing I wish is that the reference cards had these effect explanation instead of only being listed in the rulebook. Just for a quick glance if you need a reminder instead of having to look back in the rules for the full text. The reference cards do have the Turn Steps and possible Actions on them, which are helpful – don’t get me wrong!
I would recommend Tail Story at the higher player counts for maximum enjoyment. With only 2 players, it feels like it drags on a bit because it is only a back-and-forth game. With 3-4 players, you have more opponents with which to interact, and playing cards against others doesn’t feel as targeted and keeps the game play more light-hearted than cut-throat.
Let’s talk about components. As I mentioned earlier, this is only a preview copy of the game, so some elements are still not finalized. The player mats are only paper right now, but I anticipate that they will be sturdier in final production. That being said, the information on the player mats is awesome. They provide enough information to understand where everything goes, while not being so wordy that they are confusing. I am excited to see what kind of color scheme they come up with for the player mats, to match the artwork of the cards. On to the cards – they are amazing. For starters, the cards are nice, sturdy, and thick. Definitely a game that will not easily succumb to bent corners or torn cards. The actual artwork of the cards is perfect. Each card is detailed, colorful, and appropriate for their respective card names. Probably the coolest part of the cards is that they all have a holographic finish on them. This really makes the artwork pop and makes you admire every card instead of just reading the text. That being said, the holographic finish makes the cards stick together a little more – not a huge detriment, but something to be aware of and careful with when drawing or playing cards! The game box is a cute little box with a magnet closure that is perfect for easy transportation.
Overall, I would say that I love Tail Story. It’s fun, fast-paced, strategic, and exciting. Being able to choose from 3 Character types (Canine, Feline, Rodent & Friends) gives you the opportunity to play a different game, with a different strategy, every time. With more plays, the special text of cards is engrained in your head, which means that it can play even faster and with no interruptions to check rules. It’s definitely a memorable game, and one that I can see myself pulling out often on game nights. I am excited to see this campaign launch, and for the sake of all animal dreams out there, you should check it out!
Purple Phoenix Games (2266 KP) rated Peak Oil Profiteer in Tabletop Games
Jun 11, 2021
One of the most important energy resources in the world is oil. We have a finite amount, it is used in our everyday lives, and it is always in demand. So imagine if a country found a new supply of oil – everyone would be fighting for a piece! Enter Peak Oil Profiteer, a game that puts you in charge of an oil corporation vying for money and oil in this new-found oil vein. Sound like something you might be interested in? Keep reading and see what it’s all about!
Disclaimer: For this preview, we played the Tabletopia version of the game. The pictures you will see below are screenshots from my plays online. Also, I do not intend to rehash the entire rulebook, but rather provide a general overview of the rules and gameplay. For a more in-depth look, check it out when it hits Kickstarter! -L
Peak Oil Profiteer is an economic game of area majority/movement, network building, and simultaneous action selection in which players take on the roles of oil corporations competing to make the most money in an oil-rich country before corruption overtakes the land. There is a power struggle between 3 Factions, so play your cards right (literally) to come out ahead. To setup for a game, set the board in the middle of the table, populate the 3 Faction Tracks with their corresponding cubes, place the Corruption cube on 93%, create the Contingency deck (as described in the rules), shuffle the Blackmail deck, and give each player their 5 Action cards, starting Money, and 3 Pawns in their color. Flip all 9 Leader tokens face-down, shuffle them, and randomly give one to each player, placing the remaining Leader tokens face-up near the board.
The game is played over a series of rounds. At the start of every round, one card from the Contingency deck will be revealed/resolved. Contingency cards will either be Events (that will most likely alter the rules for the current round), or Consultants (to be ‘hired’ by an individual player for special abilities). Once the Contingency card has been dealt with, the round moves to the next phase: Action Selection. All players have the same 5 Action cards, numbered 1-5, available to them every round. Players will select one of their 5 Action cards and place it face-down in front of them. Then, in numerical order, all Action cards will be resolved. When your Action number has been called, you will reveal your Action card, perform the corresponding action, and take the card back into your hand. Once all players have performed their Action for the round, check the Corruption track – if it has reached 100% then the game ends, and if not then the game moves to a new round.
The 5 Actions available to all player are: 1. Networking, 2. Sell Weapons, 3. Buy Drilling Rights, 4. Sell Oil, and 5. Contingency. Networking allows you to collect Blackmail in order to win control of Faction Leaders. You may only Sell Weapons to a Faction if you control at least one of its Leaders. You will earn a set amount of Money, and a new Troop cube will be added to the game board. To Buy Drilling Rights from a Faction, you again need to control at least one of its Leaders. Pay for the rights, and then add one of your Pawns to that region of the board. Once you’ve got Drilling Rights, you can Sell Oil. Remove your Pawn from the corresponding region, and collect the appropriate amount of Money. And lastly, Contingency allows you to either ‘hire’ a Consultant, or perform an extra action as a result of an Event.
The amount of Money that you pay/earn for each of the actions is dictated by the Faction Tracks. For example, the price of Weapons decreases as Factions get more Troops on the board, which means you won’t earn as much selling to a Faction with lots of Troops in play. You have to time your Actions wisely in order to maximize your profit! If, at the end of a round, the Corruption track has reached 100%, the game ends. Players count up their Money, and the player with the highest earnings is declared the winner.
Although the theme isn’t something that would normally appeal to me, I have to say that Peak Oil
Profiteer is a solid game. The gameplay is straightforward, the player interaction is competitive but not combative, and the strategy keeps you engaged all game. The ultimate goal is to earn the most Money, and the Faction Track creates sort of a “commodity speculation” type mechanic to the gameplay. The costs vary depending on the Faction Track, and it can be manipulated by all players. That in and of itself creates some fun player interaction because the Faction Track affects all players. Doing something to block an opponent now may come back to bite you next round. Another neat element about Peak Oil Profiteer is that players select their Actions simultaneously, and they are then resolved in numerical order. Depending on where your turn falls in the round, you might be able to do just what you had planned, unless an opponent went before you and changed the game layout. There is an amount of uncertainty that forces players to adjust their strategy on the fly and adapt to the current situation.
I will say that resolving Actions in numerical order does kind of add an element of Action Programming, if you will. Once you have selected your Action this round, you are locked in. No matter what happens before your turn, you must perform your selected Action if at all possible. It creates some neat strategic opportunities, but at the same time, can feel like you’ve been blocked out. Just something to consider! Normally, I would touch on components, but as this was a Tabletopia version of the game, I can’t really do so. I will say that the art style and card/board layouts online are thematic and immersive. If the physical version of the game looks anything like this digital version, it’ll be a good looking game! One component that I especially appreciated was that each player gets a Player Reference/Round Reference card. It gives you the information you need without being too wordy, and it stops you from having to refer back to the rule book every turn. So big thanks from me for that!
Having never played the original Peak Oil game, I have to say that Peak Oil Profiteer made a good impression on me. It’s fast to teach and learn, engaging, and strategic enough to keep you thinking. The fluctuation of the Faction Track, and the order of Action resolution add elements of uncertainty and ‘luck’ (if you will) that keep the game from having a clear run-away winner. Everyone is in it until the very end, and the race for the most Money is a nail-biter for sure. If you’re looking for something interactive but not too confrontational, while also putting your strategic chops to the test, consider backing Peak Oil Profiteer on Kickstarter!
Disclaimer: For this preview, we played the Tabletopia version of the game. The pictures you will see below are screenshots from my plays online. Also, I do not intend to rehash the entire rulebook, but rather provide a general overview of the rules and gameplay. For a more in-depth look, check it out when it hits Kickstarter! -L
Peak Oil Profiteer is an economic game of area majority/movement, network building, and simultaneous action selection in which players take on the roles of oil corporations competing to make the most money in an oil-rich country before corruption overtakes the land. There is a power struggle between 3 Factions, so play your cards right (literally) to come out ahead. To setup for a game, set the board in the middle of the table, populate the 3 Faction Tracks with their corresponding cubes, place the Corruption cube on 93%, create the Contingency deck (as described in the rules), shuffle the Blackmail deck, and give each player their 5 Action cards, starting Money, and 3 Pawns in their color. Flip all 9 Leader tokens face-down, shuffle them, and randomly give one to each player, placing the remaining Leader tokens face-up near the board.
The game is played over a series of rounds. At the start of every round, one card from the Contingency deck will be revealed/resolved. Contingency cards will either be Events (that will most likely alter the rules for the current round), or Consultants (to be ‘hired’ by an individual player for special abilities). Once the Contingency card has been dealt with, the round moves to the next phase: Action Selection. All players have the same 5 Action cards, numbered 1-5, available to them every round. Players will select one of their 5 Action cards and place it face-down in front of them. Then, in numerical order, all Action cards will be resolved. When your Action number has been called, you will reveal your Action card, perform the corresponding action, and take the card back into your hand. Once all players have performed their Action for the round, check the Corruption track – if it has reached 100% then the game ends, and if not then the game moves to a new round.
The 5 Actions available to all player are: 1. Networking, 2. Sell Weapons, 3. Buy Drilling Rights, 4. Sell Oil, and 5. Contingency. Networking allows you to collect Blackmail in order to win control of Faction Leaders. You may only Sell Weapons to a Faction if you control at least one of its Leaders. You will earn a set amount of Money, and a new Troop cube will be added to the game board. To Buy Drilling Rights from a Faction, you again need to control at least one of its Leaders. Pay for the rights, and then add one of your Pawns to that region of the board. Once you’ve got Drilling Rights, you can Sell Oil. Remove your Pawn from the corresponding region, and collect the appropriate amount of Money. And lastly, Contingency allows you to either ‘hire’ a Consultant, or perform an extra action as a result of an Event.
The amount of Money that you pay/earn for each of the actions is dictated by the Faction Tracks. For example, the price of Weapons decreases as Factions get more Troops on the board, which means you won’t earn as much selling to a Faction with lots of Troops in play. You have to time your Actions wisely in order to maximize your profit! If, at the end of a round, the Corruption track has reached 100%, the game ends. Players count up their Money, and the player with the highest earnings is declared the winner.
Although the theme isn’t something that would normally appeal to me, I have to say that Peak Oil
Profiteer is a solid game. The gameplay is straightforward, the player interaction is competitive but not combative, and the strategy keeps you engaged all game. The ultimate goal is to earn the most Money, and the Faction Track creates sort of a “commodity speculation” type mechanic to the gameplay. The costs vary depending on the Faction Track, and it can be manipulated by all players. That in and of itself creates some fun player interaction because the Faction Track affects all players. Doing something to block an opponent now may come back to bite you next round. Another neat element about Peak Oil Profiteer is that players select their Actions simultaneously, and they are then resolved in numerical order. Depending on where your turn falls in the round, you might be able to do just what you had planned, unless an opponent went before you and changed the game layout. There is an amount of uncertainty that forces players to adjust their strategy on the fly and adapt to the current situation.
I will say that resolving Actions in numerical order does kind of add an element of Action Programming, if you will. Once you have selected your Action this round, you are locked in. No matter what happens before your turn, you must perform your selected Action if at all possible. It creates some neat strategic opportunities, but at the same time, can feel like you’ve been blocked out. Just something to consider! Normally, I would touch on components, but as this was a Tabletopia version of the game, I can’t really do so. I will say that the art style and card/board layouts online are thematic and immersive. If the physical version of the game looks anything like this digital version, it’ll be a good looking game! One component that I especially appreciated was that each player gets a Player Reference/Round Reference card. It gives you the information you need without being too wordy, and it stops you from having to refer back to the rule book every turn. So big thanks from me for that!
Having never played the original Peak Oil game, I have to say that Peak Oil Profiteer made a good impression on me. It’s fast to teach and learn, engaging, and strategic enough to keep you thinking. The fluctuation of the Faction Track, and the order of Action resolution add elements of uncertainty and ‘luck’ (if you will) that keep the game from having a clear run-away winner. Everyone is in it until the very end, and the race for the most Money is a nail-biter for sure. If you’re looking for something interactive but not too confrontational, while also putting your strategic chops to the test, consider backing Peak Oil Profiteer on Kickstarter!
Purple Phoenix Games (2266 KP) rated Tiny Epic Mechs in Tabletop Games
Jun 30, 2021
I am someone who loves strategy. It is fun for me to create elaborate plans and see them through to either success or failure. Ok, it’s fun to see them succeed, not so much fail. BUT either way – I like to have a plan. So when Tiny Epic Mechs launched on Kickstarter, I was a little wary. Action programming? Can’t that effectively negate any strategy you have set up? I was on the fence. But I backed it anyway. So was my investment a good one, or did my programmed action of picking up this game backfire and leave me KO’d?
Disclaimer: I do not intend to rehash the entire rulebook in this review, but give a general overview of turns and gameplay. For a more in-depth look at the rules, pick up a copy of the game from the publisher or your FLGS! -L
Tiny Epic Mechs is a game of action programming in which players take on the roles of Mech pilots competing in an arena-style battle royale event. Through the purchase of new weapons, powering up into Mech suits, combat with opponents (either face-to-face, or through the deployment of mines and turrets), and controlling different zones of the arena, players are trying to earn the most Victory Points by the end of 6 rounds of play. To begin, follow the setup instructions for the arena, based on the player count. Each player receives a player card (to track resources, and also acts as a reference card), a Pilot card, components in their chosen player color, and 1 Basic Weapon card to equip on their Pilot. Set the Round Tracker to round 1, create a market row of Advanced Weapons, place the Mighty Mech suit on it’s corresponding zone card, and the game is ready to begin!
Each round consists of 3 phases: Program, Execution, and Scoring. During the Program phase, players will secretly choose 4 Program Cards from their hand to represent their 4 moves/actions for this round. The chosen Program Cards will be laid out in order above the player card, and will immediately be covered by a face-down unused Program Card. (There are 8 Program Cards total, only 4 of which are used each round). It is important to note that the orientation of the Program Cards matters – Program Cards must be played parallel to the zone cards of the arena. Since they dictate the directions in which you move, you must place them exactly as you want to move. During the second phase, Execution, players will take turns revealing their Program Cards, one at a time and in order, and resolving the actions. To Execute a Program Card, you will first move your Pilot in the direction of the card’s arrow, and then resolve the action listed on the card. Movement is a must and cannot be skipped.
After Movement, you may perform the action on your card – Collect Resources, Purchase a Weapon, Deploy a Mine or a Turret, or Power Up. The first three of these are pretty self-explanatory. The Power Up action allows your Pilot to either heal themselves or upgrade into a Mech suit. Now to discuss crux of the game – combat. During the Execution phase, if you enter into the same zone as another player, you must immediately begin Combat. You will use your equipped weapons to battle your opponent, in hopes of knocking them out or forcing them to retreat. Weapons will deal base damage, or Power Attack damage, based on the circumstances of the combat. To attack with a weapon, you will deal the base damage immediately to your opponent. After your attack, the weapon you used is Exhausted and cannot be used again this combat. Your opponent then has the chance to attack back – either regularly or via Power Attack (I’ll leave that for you to discover on your own). Combat continues, alternating between players, until either a player is KO’d, or is forced to retreat because all of their weapons have been Exhausted. Initiating combat, dealing damage, and defeating your opponent all earn you VP, so combat is a vital part of the game!
After all players have revealed and performed their final Program Card, the round ends. At the end of the 2nd, 4th, and 6th round, players will perform a Scoring phase, earning points for any zones occupied by their own mines, turrets, or Pilot. At the end of the 6th and final round, scoring takes place as stated above, but players will also earn VP for all weapons they have purchased throughout the game. The player with the highest VP is the winner!
I have to admit that I am not a person who generally enjoys the mechanic of action programming. I like to really think through my strategy, and execute it exactly as I want. Action programming makes strategizing more difficult because your success or failure depends on the actions selected in advance by your opponents. You can’t really adapt mid-round, you kind of just have to deal with what’s happening. That being said, Tiny Epic Mechs, in my opinion, has a good balance of combat and actions/resource management. Your entire strategy can’t be based on combat – you need to upgrade weapons, climb into your Mech suit, etc. – and the ability to vary combat with individual upgrades makes the gameplay feel more strategic. Yes, your opponents might still mess up some of your best-laid plans, but you have to be prepared for any situation.
The overall gameplay can feel calculated or chaotic simply based on the player count. In a 2-player game, obviously there are only 2 people, and you have more opportunities to really focus on your individual Pilot before necessarily traipsing into combat. In a game with 3 or 4 players, interactions between players are inevitable and can really make the action programming mechanic stand out/feel more random/etc. Especially with a small play arena, Pilots will be crossing paths at probably every turn, and you may be forced into more combats that you anticipated. With only 2 players, there are interactions between players, but it feels a little more calm overall, and you can really work with a strategy instead of having to adapt to sudden changes in the arena.
Let’s touch on components for a minute. As always, this Tiny Epic delivers on quality components. The cards are colorful and sturdy, the text easy to read. The wooden components for tracking health/resources are good, but maybe just a little too small, even for my regularly-sized hands. The ITEMeeples, Mech suits, and weapons are always fun to play with, and sturdy enough to hold up to lots of plays. All in all, great work from Gamelyn Games once again.
For being a game of action programming, I have to admit that I enjoyed Tiny Epic Mechs more than I thought I would. At least at a 2-player count. Anything more feels too chaotic and random to me. The elements of programming and combat are engaging and elevate the gameplay, but it’s just not my favorite mechanic. Will I keep this game? Definitely. For what it is, I think it does a good job. Will I get more action programming games in the future? Probably not. I’d say Tiny Epic Mechs fills that spot for me, and that is all good in my book. Check this one out if you’re looking for something fun and relatively simple that utilizes this mechanic. Purple Phoenix Games gives it a mechanical 7 / 12.
Disclaimer: I do not intend to rehash the entire rulebook in this review, but give a general overview of turns and gameplay. For a more in-depth look at the rules, pick up a copy of the game from the publisher or your FLGS! -L
Tiny Epic Mechs is a game of action programming in which players take on the roles of Mech pilots competing in an arena-style battle royale event. Through the purchase of new weapons, powering up into Mech suits, combat with opponents (either face-to-face, or through the deployment of mines and turrets), and controlling different zones of the arena, players are trying to earn the most Victory Points by the end of 6 rounds of play. To begin, follow the setup instructions for the arena, based on the player count. Each player receives a player card (to track resources, and also acts as a reference card), a Pilot card, components in their chosen player color, and 1 Basic Weapon card to equip on their Pilot. Set the Round Tracker to round 1, create a market row of Advanced Weapons, place the Mighty Mech suit on it’s corresponding zone card, and the game is ready to begin!
Each round consists of 3 phases: Program, Execution, and Scoring. During the Program phase, players will secretly choose 4 Program Cards from their hand to represent their 4 moves/actions for this round. The chosen Program Cards will be laid out in order above the player card, and will immediately be covered by a face-down unused Program Card. (There are 8 Program Cards total, only 4 of which are used each round). It is important to note that the orientation of the Program Cards matters – Program Cards must be played parallel to the zone cards of the arena. Since they dictate the directions in which you move, you must place them exactly as you want to move. During the second phase, Execution, players will take turns revealing their Program Cards, one at a time and in order, and resolving the actions. To Execute a Program Card, you will first move your Pilot in the direction of the card’s arrow, and then resolve the action listed on the card. Movement is a must and cannot be skipped.
After Movement, you may perform the action on your card – Collect Resources, Purchase a Weapon, Deploy a Mine or a Turret, or Power Up. The first three of these are pretty self-explanatory. The Power Up action allows your Pilot to either heal themselves or upgrade into a Mech suit. Now to discuss crux of the game – combat. During the Execution phase, if you enter into the same zone as another player, you must immediately begin Combat. You will use your equipped weapons to battle your opponent, in hopes of knocking them out or forcing them to retreat. Weapons will deal base damage, or Power Attack damage, based on the circumstances of the combat. To attack with a weapon, you will deal the base damage immediately to your opponent. After your attack, the weapon you used is Exhausted and cannot be used again this combat. Your opponent then has the chance to attack back – either regularly or via Power Attack (I’ll leave that for you to discover on your own). Combat continues, alternating between players, until either a player is KO’d, or is forced to retreat because all of their weapons have been Exhausted. Initiating combat, dealing damage, and defeating your opponent all earn you VP, so combat is a vital part of the game!
After all players have revealed and performed their final Program Card, the round ends. At the end of the 2nd, 4th, and 6th round, players will perform a Scoring phase, earning points for any zones occupied by their own mines, turrets, or Pilot. At the end of the 6th and final round, scoring takes place as stated above, but players will also earn VP for all weapons they have purchased throughout the game. The player with the highest VP is the winner!
I have to admit that I am not a person who generally enjoys the mechanic of action programming. I like to really think through my strategy, and execute it exactly as I want. Action programming makes strategizing more difficult because your success or failure depends on the actions selected in advance by your opponents. You can’t really adapt mid-round, you kind of just have to deal with what’s happening. That being said, Tiny Epic Mechs, in my opinion, has a good balance of combat and actions/resource management. Your entire strategy can’t be based on combat – you need to upgrade weapons, climb into your Mech suit, etc. – and the ability to vary combat with individual upgrades makes the gameplay feel more strategic. Yes, your opponents might still mess up some of your best-laid plans, but you have to be prepared for any situation.
The overall gameplay can feel calculated or chaotic simply based on the player count. In a 2-player game, obviously there are only 2 people, and you have more opportunities to really focus on your individual Pilot before necessarily traipsing into combat. In a game with 3 or 4 players, interactions between players are inevitable and can really make the action programming mechanic stand out/feel more random/etc. Especially with a small play arena, Pilots will be crossing paths at probably every turn, and you may be forced into more combats that you anticipated. With only 2 players, there are interactions between players, but it feels a little more calm overall, and you can really work with a strategy instead of having to adapt to sudden changes in the arena.
Let’s touch on components for a minute. As always, this Tiny Epic delivers on quality components. The cards are colorful and sturdy, the text easy to read. The wooden components for tracking health/resources are good, but maybe just a little too small, even for my regularly-sized hands. The ITEMeeples, Mech suits, and weapons are always fun to play with, and sturdy enough to hold up to lots of plays. All in all, great work from Gamelyn Games once again.
For being a game of action programming, I have to admit that I enjoyed Tiny Epic Mechs more than I thought I would. At least at a 2-player count. Anything more feels too chaotic and random to me. The elements of programming and combat are engaging and elevate the gameplay, but it’s just not my favorite mechanic. Will I keep this game? Definitely. For what it is, I think it does a good job. Will I get more action programming games in the future? Probably not. I’d say Tiny Epic Mechs fills that spot for me, and that is all good in my book. Check this one out if you’re looking for something fun and relatively simple that utilizes this mechanic. Purple Phoenix Games gives it a mechanical 7 / 12.
Purple Phoenix Games (2266 KP) rated Studies in Sorcery in Tabletop Games
Oct 6, 2020
We’re all nerds here, right? What was the best class the gang took in the Harry Potter series? Defense Against the Dark Arts of course! Learning spells to protect ones’ self (oneself? themselves??) from an onslaught of dark spells looked so fun in the movies. *DISCLAIMER: I have never read a Harry Potter book. I made it one chapter and couldn’t do it, but I have seen the movies several times.* In any case, what if you could learn the other side of these spells? The offensive ones? Well that would be cool right? What if you could get a full master’s degree in Dark Arts? Welcome to Studies in Sorcery.
Studies in Sorcery is a competitive card game that uses elements from other well-loved games and puts them with a wonderful theme and some very interesting card synergies. The game takes place over four school semesters (rounds) and each semester lasts four weeks (turns). Can you students complete your thesis using the research grants you are given, or will you fall flat to repeat the program again?
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this preview. These are preview copy components, and the final components may be different from these shown. Also, it is not my intention to detail every rule in the game, but to give our readers an idea of how the game plays. You are invited to back the game on Kickstarter launching October 6, 2020, order from your FLGS, or purchase through any retailers stocking it after it is fulfilled. -T
To setup, separate each deck of cards into like piles (Levels 100, 200, and 300 of the projects, graveyard cards, candles, vials) and shuffle them. Lay out the moon phase cards and semester tracker, placing the tracker tokens (skull erasers in the prototype) on the start of the cards to begin play. Set out the candles and vials in their own piles, as well as the point modifier tokens. Deal project cards according to the semester tracker in a 3×2 pattern under the moon phase and semester tracker cards like is shown in the photo below. Initially the graveyard pile will have three stacks of two cards each face-down next to the draw pile. Each player receives a research grant card, two thesis cards to choose one from, and two 100-level project cards from which the player will choose one. Give the first-player token (in this prototype it’s a cute LEGO skeleton) to the player who last attended school, and the game may begin!
Each player will be resolving actions, committing materials to their projects, and using completed project abilities each moon phase (turn). The actions one may take are: Dig, Buy, Cram, and Project Action. When a player uses the Dig action, they are searching for materials. A player can look at the items in the first pile of graveyard cards and take all the contents. If they do not like them, draw a card from the draw deck and place it on the first pile. Continue this for the next pile, and if unsatisfied the player may draw the top card from the draw pile OR either a candle or vial from the supply of stock cards.
Buy actions allow a player to use any unwanted materials or research grant monies to purchase additional candles, vials, or project cards from the middle of the table. To Cram, players may commit up to two materials from their hand to a project by placing the materials under the project cards. Project Actions allow players to use actions printed on any of their completed project cards. These can be very powerful.
Once each player has taken one of these actions, move the tracker token on the moon phase card to the next icon – Commit. To commit materials to projects, simply place the cards under the selected project (exactly like players do with the Cram action). Once all players have completed their commits, they may complete any projects that have sufficient materials by discarding the used materials and flipping the project card to its opposite side earning the printed points at the end of the game.
Play continues in this fashion for four turns each semester and the game lasts four semesters. Therefore the game will last 16 turns total. Whomever earns the most points for combinations of completed thesis cards, completed projects, bonus point modifier tokens, and one point for each $8 worth of materials in hand will be named Valedictorian of their class and winner of Studies in Sorcery!
Components. Again, this is a prototype copy of the game, and I know some things will be different in the final version. However, what we were provided is a bunch of cards that have great art, are good quality, and are very easy to read and understand. The cute first player token will more than likely become a different component in the end, and the tracker tokens probably will be changed as well, but these are great bits to include in a game like this. The only negative I have about components is that I wish there was MORE color. Most of the cards are brown-heavy, and it’s completely fine, but I would love to have splashes of weird colors here and there. Overall, I am very pleased with the components in this game. Weird Giraffe Games always has great components in their prototypes AND final games.
It is probably no surprise that I love this game. The theme is wonderful, the wonky art is great, and it’s more thinky than one might imagine. The game play can be somewhat quick, or players can take excruciating amounts of time to think through their turns and chain together impressive actions. One thing remains constant – 16 turns to complete your thesis cards can be a huge undertaking. My first time playing I chose a thesis card worth 7 points (even though the rulebook advised me not to include those for the first play). I wasn’t even really that close to completing the thesis, but I may have with another two or three turns. But then again, that card is worth 7 points for a reason – it’s SUPPOSED to be difficult. My suggestion: take the rulebook’s advice and remove those thesis cards for the first play. Don’t try to be a hero.
Ahhhhhhh! I want to play it again right now just so I can attempt that thesis card again. But there are other thesis cards in the game. And other strategies to apply. And really, when you can’t wait to play a game, that’s a sign of a fantastic game for that specific gamer. Will this be a gem for everyone? I don’t know. It certainly works for me and my circle of gamers.
If you are a fan of the Harry Potter series (even though this is NOT a Harry Potter game) and need a thinky card game with that sort of fantasy classroom theme, or if your collection is begging for something new and quirky, or if you just love Weird Giraffe Games’ catalog and need every game they offer (I wouldn’t blame you), then you need to give Studies in Sorcery a look. Please consider backing it on Kickstarter launching October 6, 2020. I know my collection just got a lot cooler with this one.
Studies in Sorcery is a competitive card game that uses elements from other well-loved games and puts them with a wonderful theme and some very interesting card synergies. The game takes place over four school semesters (rounds) and each semester lasts four weeks (turns). Can you students complete your thesis using the research grants you are given, or will you fall flat to repeat the program again?
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this preview. These are preview copy components, and the final components may be different from these shown. Also, it is not my intention to detail every rule in the game, but to give our readers an idea of how the game plays. You are invited to back the game on Kickstarter launching October 6, 2020, order from your FLGS, or purchase through any retailers stocking it after it is fulfilled. -T
To setup, separate each deck of cards into like piles (Levels 100, 200, and 300 of the projects, graveyard cards, candles, vials) and shuffle them. Lay out the moon phase cards and semester tracker, placing the tracker tokens (skull erasers in the prototype) on the start of the cards to begin play. Set out the candles and vials in their own piles, as well as the point modifier tokens. Deal project cards according to the semester tracker in a 3×2 pattern under the moon phase and semester tracker cards like is shown in the photo below. Initially the graveyard pile will have three stacks of two cards each face-down next to the draw pile. Each player receives a research grant card, two thesis cards to choose one from, and two 100-level project cards from which the player will choose one. Give the first-player token (in this prototype it’s a cute LEGO skeleton) to the player who last attended school, and the game may begin!
Each player will be resolving actions, committing materials to their projects, and using completed project abilities each moon phase (turn). The actions one may take are: Dig, Buy, Cram, and Project Action. When a player uses the Dig action, they are searching for materials. A player can look at the items in the first pile of graveyard cards and take all the contents. If they do not like them, draw a card from the draw deck and place it on the first pile. Continue this for the next pile, and if unsatisfied the player may draw the top card from the draw pile OR either a candle or vial from the supply of stock cards.
Buy actions allow a player to use any unwanted materials or research grant monies to purchase additional candles, vials, or project cards from the middle of the table. To Cram, players may commit up to two materials from their hand to a project by placing the materials under the project cards. Project Actions allow players to use actions printed on any of their completed project cards. These can be very powerful.
Once each player has taken one of these actions, move the tracker token on the moon phase card to the next icon – Commit. To commit materials to projects, simply place the cards under the selected project (exactly like players do with the Cram action). Once all players have completed their commits, they may complete any projects that have sufficient materials by discarding the used materials and flipping the project card to its opposite side earning the printed points at the end of the game.
Play continues in this fashion for four turns each semester and the game lasts four semesters. Therefore the game will last 16 turns total. Whomever earns the most points for combinations of completed thesis cards, completed projects, bonus point modifier tokens, and one point for each $8 worth of materials in hand will be named Valedictorian of their class and winner of Studies in Sorcery!
Components. Again, this is a prototype copy of the game, and I know some things will be different in the final version. However, what we were provided is a bunch of cards that have great art, are good quality, and are very easy to read and understand. The cute first player token will more than likely become a different component in the end, and the tracker tokens probably will be changed as well, but these are great bits to include in a game like this. The only negative I have about components is that I wish there was MORE color. Most of the cards are brown-heavy, and it’s completely fine, but I would love to have splashes of weird colors here and there. Overall, I am very pleased with the components in this game. Weird Giraffe Games always has great components in their prototypes AND final games.
It is probably no surprise that I love this game. The theme is wonderful, the wonky art is great, and it’s more thinky than one might imagine. The game play can be somewhat quick, or players can take excruciating amounts of time to think through their turns and chain together impressive actions. One thing remains constant – 16 turns to complete your thesis cards can be a huge undertaking. My first time playing I chose a thesis card worth 7 points (even though the rulebook advised me not to include those for the first play). I wasn’t even really that close to completing the thesis, but I may have with another two or three turns. But then again, that card is worth 7 points for a reason – it’s SUPPOSED to be difficult. My suggestion: take the rulebook’s advice and remove those thesis cards for the first play. Don’t try to be a hero.
Ahhhhhhh! I want to play it again right now just so I can attempt that thesis card again. But there are other thesis cards in the game. And other strategies to apply. And really, when you can’t wait to play a game, that’s a sign of a fantastic game for that specific gamer. Will this be a gem for everyone? I don’t know. It certainly works for me and my circle of gamers.
If you are a fan of the Harry Potter series (even though this is NOT a Harry Potter game) and need a thinky card game with that sort of fantasy classroom theme, or if your collection is begging for something new and quirky, or if you just love Weird Giraffe Games’ catalog and need every game they offer (I wouldn’t blame you), then you need to give Studies in Sorcery a look. Please consider backing it on Kickstarter launching October 6, 2020. I know my collection just got a lot cooler with this one.
Kirk Bage (1775 KP) rated Knives Out (2019) in Movies
Jan 22, 2021
Murder mystery films tend to be more fun in theory and anticipation than they are to watch. It’s a genre that I very much enjoy and have indulged in over the years. Yet, if I look back in detail at it, I find that it is the books, especially those of Agatha Christie, that I like much more than anything lasting a couple of hours on the screen. There’s something about the mystery being rushed and squeezed into the cinema artform that is usually anti-climactic or even a full on let down.
Perhaps my favourite of the entire genre is a film that refuses to take itself seriously and is at once a pastiche of the multiple cliches that have accumulated over the years. And that film is, of course, the wonderfully camp, funny and charming 1985 romp Clue, starring Tim Curry and a slough of 80s B stars having the time of their lives. It isn’t a “good” film, it is a cult film, it’s joy being in its absolute lack of pretension or moral judgement. Like the board game that inspired it, it isn’t overly complicated or long, but has just enough cleverness, mirth and ambiance about it to always be a winner.
Rian Johnson’s take on the genre, Knives Out, is aware of these elements at all times, being above all things colourful, playful, arch and glib, but never convoluted or cerebral in an alienating way. He is something of a master at subverting a genre and wringing new life into it; take the invention of the teen noir in Brick, or the blend of assassin time travel sci-fi in Looper. He even gave an entire franchise a new breath of life by re-examining the use of humour and self referencing in Star Wars: The Last Jedi.
All of those previous films have as many detractors as mega fans, proving his style is devisive, for its audacity and its irreverence towards any idea of purism within an established model. And Knives Out is no exception to that. However, it may be the film of his that most people can agree on that they enjoyed, for one reason or another. I think it’s as interesting to ask why that is as it is to talk about the film itself… so, I will. At least, I’ll try to do both without losing my train of thought.
Firstly, it looks stunning; the palate of rich colours used in the poster and all marketing just make it look like something you want to immerse yourself in – every jacket, tie, dress, or piece of furniture is designed to precision, and it works like a dream of the genre you may have once had, as if it had been plucked directly from your subconscious. As in all good murder mysteries, the location, props and costumes should hold as much character as the actors, and the stately home of the Thrombey family certainly provides plenty of atmosphere in every texture and material on display.
Of course, the cast of characters is wonderfully put together with some inspired casting of familiar faces and actors you trust, such as Toni Collette and Michael Shannon, together with a few we don’t see enough of these days, such as Jamie Lee Curtis and Don Johnson, who both manage to create something as memorable as anything they did in their golden days. Add to the mix two bone fide action film superstars in Daniel Craig and Chris Evans, who leave the baggage of their most famous characters far behind and manage to convince you they are real actors again, the former with the aide of a jarring but hilarious Southern drawl, that grates at first but is a perfect choice on reflection.
Then there are the two lynchpins of this film’s ultimate success and joy: the exceptional legendary gravitas of 90 year old Christopher Plummer as the patriarch and victim at the centre of the intrigue, and the quite glorious revelation of Ana de Armas, whose charisma, beauty and skill in this delicately balanced role was the most impressive thing for me about the whole production. It may be Craig who is the ever present focus, as the detective tasked with solving the “crime”, but it is de Armas that you will remember most long after the credits roll.
As for the plot, well… I obviously can’t talk about it without ruining the whole thing. But, I can say that it isn’t far into the intricate web of motives, alibis and secrets before you start to sense this is going somewhere different, even unique. The examination of the relationships and personalities, and the extent to which they each demonstrate greed and selfishness is fascinating, superceding the crime that exists on the surface with a swamp of far seedier and unpleasant goings-on. Craig’s suave Benoit Blanc isn’t so much a detective here as a family therapist, or perhaps a supernatural presence in the style of the old classic, An Inspector Calls. Perhaps, it is suggested, no one completely escapes guilt and shame here… or do they? Are we looking for a murderer, or the only morally good person amidst a pack of dogs?
Another key element is how modern and unstuffy it feels, despite the country house and riches this is no play of manners, quite the opposite – no one here is on their best behaviour for the sake of decorum, and being upper class is an idea played with rather than enforced. The tea and cakes of the classic Christie, such as Murder on the Orient Express is replaced by smartphones and similar trappings, that identify it as definitely 2019 and no period piece. The concerns and themes are very much rooted in our present problems, and for that it engages and resonates in ways a costume drama just can’t do.
Upon finishing it for the first time, you may be thinking “sure, OK, I enjoyed that… but I’m not blown away here”. Then, as it sinks in over coming weeks, you find yourself recommending it to people, and thinking about how good it is in ways you didn’t initially think about. And that is surely why it was so embraced by the critics and paying public alike; it is a likeable, fun film, that can also stand some artistic scrutiny. It isn’t the smartest, or prettiest, or most meaningful film ever made, but it is enough of all three to make it an instant mini-classic, in my opinion.
I feel like there is maybe more to say about it, which is always a good sign, but that will do for now. I’d be happy to discuss it with anyone that feels the need. Or hear from anyone that didn’t like it! It would be interesting to hear that side of it, because I haven’t heard many negative comments on it at all. I don’t think I would defend it as a masterpiece to the end of the Earth, ‘cos it ain’t that good. I’m just hard pressed to find a serious fault. And it’s great when one of those sneaks up on you!
Perhaps my favourite of the entire genre is a film that refuses to take itself seriously and is at once a pastiche of the multiple cliches that have accumulated over the years. And that film is, of course, the wonderfully camp, funny and charming 1985 romp Clue, starring Tim Curry and a slough of 80s B stars having the time of their lives. It isn’t a “good” film, it is a cult film, it’s joy being in its absolute lack of pretension or moral judgement. Like the board game that inspired it, it isn’t overly complicated or long, but has just enough cleverness, mirth and ambiance about it to always be a winner.
Rian Johnson’s take on the genre, Knives Out, is aware of these elements at all times, being above all things colourful, playful, arch and glib, but never convoluted or cerebral in an alienating way. He is something of a master at subverting a genre and wringing new life into it; take the invention of the teen noir in Brick, or the blend of assassin time travel sci-fi in Looper. He even gave an entire franchise a new breath of life by re-examining the use of humour and self referencing in Star Wars: The Last Jedi.
All of those previous films have as many detractors as mega fans, proving his style is devisive, for its audacity and its irreverence towards any idea of purism within an established model. And Knives Out is no exception to that. However, it may be the film of his that most people can agree on that they enjoyed, for one reason or another. I think it’s as interesting to ask why that is as it is to talk about the film itself… so, I will. At least, I’ll try to do both without losing my train of thought.
Firstly, it looks stunning; the palate of rich colours used in the poster and all marketing just make it look like something you want to immerse yourself in – every jacket, tie, dress, or piece of furniture is designed to precision, and it works like a dream of the genre you may have once had, as if it had been plucked directly from your subconscious. As in all good murder mysteries, the location, props and costumes should hold as much character as the actors, and the stately home of the Thrombey family certainly provides plenty of atmosphere in every texture and material on display.
Of course, the cast of characters is wonderfully put together with some inspired casting of familiar faces and actors you trust, such as Toni Collette and Michael Shannon, together with a few we don’t see enough of these days, such as Jamie Lee Curtis and Don Johnson, who both manage to create something as memorable as anything they did in their golden days. Add to the mix two bone fide action film superstars in Daniel Craig and Chris Evans, who leave the baggage of their most famous characters far behind and manage to convince you they are real actors again, the former with the aide of a jarring but hilarious Southern drawl, that grates at first but is a perfect choice on reflection.
Then there are the two lynchpins of this film’s ultimate success and joy: the exceptional legendary gravitas of 90 year old Christopher Plummer as the patriarch and victim at the centre of the intrigue, and the quite glorious revelation of Ana de Armas, whose charisma, beauty and skill in this delicately balanced role was the most impressive thing for me about the whole production. It may be Craig who is the ever present focus, as the detective tasked with solving the “crime”, but it is de Armas that you will remember most long after the credits roll.
As for the plot, well… I obviously can’t talk about it without ruining the whole thing. But, I can say that it isn’t far into the intricate web of motives, alibis and secrets before you start to sense this is going somewhere different, even unique. The examination of the relationships and personalities, and the extent to which they each demonstrate greed and selfishness is fascinating, superceding the crime that exists on the surface with a swamp of far seedier and unpleasant goings-on. Craig’s suave Benoit Blanc isn’t so much a detective here as a family therapist, or perhaps a supernatural presence in the style of the old classic, An Inspector Calls. Perhaps, it is suggested, no one completely escapes guilt and shame here… or do they? Are we looking for a murderer, or the only morally good person amidst a pack of dogs?
Another key element is how modern and unstuffy it feels, despite the country house and riches this is no play of manners, quite the opposite – no one here is on their best behaviour for the sake of decorum, and being upper class is an idea played with rather than enforced. The tea and cakes of the classic Christie, such as Murder on the Orient Express is replaced by smartphones and similar trappings, that identify it as definitely 2019 and no period piece. The concerns and themes are very much rooted in our present problems, and for that it engages and resonates in ways a costume drama just can’t do.
Upon finishing it for the first time, you may be thinking “sure, OK, I enjoyed that… but I’m not blown away here”. Then, as it sinks in over coming weeks, you find yourself recommending it to people, and thinking about how good it is in ways you didn’t initially think about. And that is surely why it was so embraced by the critics and paying public alike; it is a likeable, fun film, that can also stand some artistic scrutiny. It isn’t the smartest, or prettiest, or most meaningful film ever made, but it is enough of all three to make it an instant mini-classic, in my opinion.
I feel like there is maybe more to say about it, which is always a good sign, but that will do for now. I’d be happy to discuss it with anyone that feels the need. Or hear from anyone that didn’t like it! It would be interesting to hear that side of it, because I haven’t heard many negative comments on it at all. I don’t think I would defend it as a masterpiece to the end of the Earth, ‘cos it ain’t that good. I’m just hard pressed to find a serious fault. And it’s great when one of those sneaks up on you!
5 Minute Movie Guy (379 KP) rated Tomorrowland (2015) in Movies
Jun 29, 2019
With Tomorrowland's lifeless fantasy world, bland characters, second-rate special effects, forced dialogue, and uninspired story, your future will undoubtedly be better off if it doesn't involve watching this movie.
Disney’s Tomorrowland implores us to imagine a world without limitation. One where nothing is impossible, and all of our wildest dreams can come true. (Sounds very trademark Disney, doesn’t it?) In the movie, that world exists in the form of a secret utopian society that has been built by only the brightest of minds. It is a place that exists free of politics and corruption, where people can push the boundaries of possibility as far as their imaginations will take them. Tomorrowland is a world meant to inspire, to evoke wonder, and to nurture creativity. It’s a stunning shame then, that all I ever felt while watching the movie was sheer boredom. For all of its endless opportunity, Tomorrowland ends up being almost completely uninteresting. With Tomorrowland‘s lifeless fantasy world, bland characters, second-rate special effects, forced dialogue, and uninspired story, your own future will undoubtedly be better off if it doesn’t involve ever watching this movie.
With the star talent of George Clooney, the directorial skill of Brad Bird, and the film’s promising trailers, I must admit that I was caught off guard by Tomorrowland‘s lackluster execution. The greatest compliment I can give the film is that it’s blandly passable, but in no area is it particularly good, engaging, or thought-provoking. For being a film that is about celebrating creativity, it sure is lacking in that regard. Tomorrowland itself feels like a poorly-realized pipe dream. It’s supposed to be this wonderfully ingenious world of innovation, but nothing about it struck me as notably exciting or exceptional. From the surface, it looks like your typical futuristic metropolis, complete with jetpacks and flying cars. Beyond that, I couldn’t really tell you what makes Tomorrowland so special, and I believe that’s largely because we’re given so little access to it. The movie treats us as outsiders to this place, and we spend the majority of the film tagging alongside the two main characters as they try to get in, but we’re never given any sort of rewarding payoff once we get there. The world of Tomorrowland is practically nothing more than a shallow, fantasy world facade.
The movie starts off with an uncomfortably awkward recruitment video recorded by Tomorrowland’s two main characters, Frank Walker (George Clooney) and Casey Newton (Britt Robertson), in which they argue over how they should tell their story. It’s a poor attempt at humor with banter that feels entirely forced. If anything, this overly long introduction should have served as an early indicator that I was about to embark on a two-hour snooze-fest. From there we transition to each of their character’s respective origin stories, and their separate journeys that led them to Tomorrowland.
Frank’s story takes us to the 1964 World’s Fair at Disneyland where as a young boy he’s trying to enter with his faulty jetpack creation. His invention is rejected, but he still manages to catch the attention of a girl named Athena, who gives him a special pin with the Tomorrowland logo. Young Frank is ordered to secretly follow her in the theme park, leading to the “It’s A Small World” ride, where he’s magically transported to Tomorrowland. Here we’re given our first glimpse of this futuristic world, but the entire sequence isn’t nearly as fun or awe-inspiring as it should be. Frank takes to the skies in his newly-repaired jetpack and yet this significant moment somehow winds up feeling surprisingly empty. The movie fails to capture that youthful element of whimsy and excitement that comes from discovery.
Next we learn the much more recent story of Casey, an enthusiastic high school student with a passion for making the world a better place. She’s the daughter of a struggling inventor who gets herself in trouble with the law after trying to sabotage the government’s planned demolition of a NASA launch pad. Once bailed out of jail, Casey finds a mysterious Tomorrowland token among her belongings, and upon touching it, she is magically transported to a wheat field with the distinguished metropolis of Tomorrowland in the distance. However, when trying to reach this futuristic city, she finds that boundaries in the real world inhibit her in this golden future world, even though she cannot see them while holding the token. It’s a novel idea, and one of the movie’s better moments, but if you’ve seen the film’s trailers then you’ve already seen most of how it plays out.
The trailers also spoiled Tomorrowland‘s best, and arguably only good action sequence, in which androids invade Frank’s house in an attempt to capture Casey, who possesses that coveted Tomorrowland token. It’s a well-crafted and exciting moment that demonstrates Brad Bird’s talent, but it’s also an unfortunately rare instance of entertainment in what is otherwise a dull film. As for the aforementioned androids, they’re unbelievably cheesy and lame. These robot villains are sourced from the pinnacle of technological advancement, and yet they’re remarkably derivative and hokey. The most original thing about them is that they blink their eyelids alternatively. That’s some real cutting edge creativity right there! To top it off, Tomorrowland even throws in an android-to-human love story for good measure, because why not? Robots need love too, you guys!
You know what the most troubling thing about Tomorrowland is for me? The fact that Brad Bird was the very first choice to direct Star Wars: Episode 7 and he turned it down to make this movie instead. That is almost incomprehensible to me. Even more so when you consider that Tomorrowland features a comic book store scene that is literally brimming with Star Wars props. It’s a decision that may come back to haunt him, but given how poor this movie is, I’m now actually thanking my lucky Death Stars that he’s not the one making the upcoming Star Wars: The Force Awakens.
In the end, Tomorrowland is a movie that I don’t feel any connection to. I wasn’t captivated by the characters or the performances (not even George Clooney could save this one). The plot was a total bore. The sci-fi elements missed the mark. The visuals were mostly just decent, and tended to look more fake than impressive. The underlying message of hope was weak, and please, don’t even get me started on that cliché “two wolves” story that was needlessly tacked in. Nothing about the movie ever reminded me of the actual Tomorrowland from Disneyland Park, nor did it share its level of creativity. The longer the movie went on, the more I wanted it to end. I can honestly tell you that I have had more enjoyment standing in line for two hours for a ride in Disneyland’s Tomorrowland than I ever had while watching this movie. If this is how dull our ideal future is going to be, then sign me up for a front row ticket to the apocalypse where the future belongs to the mad!
(This review was originally posted at 5mmg.com on 5.26.15.)
With the star talent of George Clooney, the directorial skill of Brad Bird, and the film’s promising trailers, I must admit that I was caught off guard by Tomorrowland‘s lackluster execution. The greatest compliment I can give the film is that it’s blandly passable, but in no area is it particularly good, engaging, or thought-provoking. For being a film that is about celebrating creativity, it sure is lacking in that regard. Tomorrowland itself feels like a poorly-realized pipe dream. It’s supposed to be this wonderfully ingenious world of innovation, but nothing about it struck me as notably exciting or exceptional. From the surface, it looks like your typical futuristic metropolis, complete with jetpacks and flying cars. Beyond that, I couldn’t really tell you what makes Tomorrowland so special, and I believe that’s largely because we’re given so little access to it. The movie treats us as outsiders to this place, and we spend the majority of the film tagging alongside the two main characters as they try to get in, but we’re never given any sort of rewarding payoff once we get there. The world of Tomorrowland is practically nothing more than a shallow, fantasy world facade.
The movie starts off with an uncomfortably awkward recruitment video recorded by Tomorrowland’s two main characters, Frank Walker (George Clooney) and Casey Newton (Britt Robertson), in which they argue over how they should tell their story. It’s a poor attempt at humor with banter that feels entirely forced. If anything, this overly long introduction should have served as an early indicator that I was about to embark on a two-hour snooze-fest. From there we transition to each of their character’s respective origin stories, and their separate journeys that led them to Tomorrowland.
Frank’s story takes us to the 1964 World’s Fair at Disneyland where as a young boy he’s trying to enter with his faulty jetpack creation. His invention is rejected, but he still manages to catch the attention of a girl named Athena, who gives him a special pin with the Tomorrowland logo. Young Frank is ordered to secretly follow her in the theme park, leading to the “It’s A Small World” ride, where he’s magically transported to Tomorrowland. Here we’re given our first glimpse of this futuristic world, but the entire sequence isn’t nearly as fun or awe-inspiring as it should be. Frank takes to the skies in his newly-repaired jetpack and yet this significant moment somehow winds up feeling surprisingly empty. The movie fails to capture that youthful element of whimsy and excitement that comes from discovery.
Next we learn the much more recent story of Casey, an enthusiastic high school student with a passion for making the world a better place. She’s the daughter of a struggling inventor who gets herself in trouble with the law after trying to sabotage the government’s planned demolition of a NASA launch pad. Once bailed out of jail, Casey finds a mysterious Tomorrowland token among her belongings, and upon touching it, she is magically transported to a wheat field with the distinguished metropolis of Tomorrowland in the distance. However, when trying to reach this futuristic city, she finds that boundaries in the real world inhibit her in this golden future world, even though she cannot see them while holding the token. It’s a novel idea, and one of the movie’s better moments, but if you’ve seen the film’s trailers then you’ve already seen most of how it plays out.
The trailers also spoiled Tomorrowland‘s best, and arguably only good action sequence, in which androids invade Frank’s house in an attempt to capture Casey, who possesses that coveted Tomorrowland token. It’s a well-crafted and exciting moment that demonstrates Brad Bird’s talent, but it’s also an unfortunately rare instance of entertainment in what is otherwise a dull film. As for the aforementioned androids, they’re unbelievably cheesy and lame. These robot villains are sourced from the pinnacle of technological advancement, and yet they’re remarkably derivative and hokey. The most original thing about them is that they blink their eyelids alternatively. That’s some real cutting edge creativity right there! To top it off, Tomorrowland even throws in an android-to-human love story for good measure, because why not? Robots need love too, you guys!
You know what the most troubling thing about Tomorrowland is for me? The fact that Brad Bird was the very first choice to direct Star Wars: Episode 7 and he turned it down to make this movie instead. That is almost incomprehensible to me. Even more so when you consider that Tomorrowland features a comic book store scene that is literally brimming with Star Wars props. It’s a decision that may come back to haunt him, but given how poor this movie is, I’m now actually thanking my lucky Death Stars that he’s not the one making the upcoming Star Wars: The Force Awakens.
In the end, Tomorrowland is a movie that I don’t feel any connection to. I wasn’t captivated by the characters or the performances (not even George Clooney could save this one). The plot was a total bore. The sci-fi elements missed the mark. The visuals were mostly just decent, and tended to look more fake than impressive. The underlying message of hope was weak, and please, don’t even get me started on that cliché “two wolves” story that was needlessly tacked in. Nothing about the movie ever reminded me of the actual Tomorrowland from Disneyland Park, nor did it share its level of creativity. The longer the movie went on, the more I wanted it to end. I can honestly tell you that I have had more enjoyment standing in line for two hours for a ride in Disneyland’s Tomorrowland than I ever had while watching this movie. If this is how dull our ideal future is going to be, then sign me up for a front row ticket to the apocalypse where the future belongs to the mad!
(This review was originally posted at 5mmg.com on 5.26.15.)
Bob Mann (459 KP) rated Ad Astra (2019) in Movies
Sep 28, 2021
Impressive visuals, but rather disappointing as an overall package.
Like father, like son?
I really love sci-fi films with high ambitions. “Psychological” sci-fi like “Solaris” for example. And “Arrival” topped my movie list for 2016. In similar vein, “Ad Astra” is also a movie concerning attempted contact with alien life. So I had high hopes for it. But would this Sci-fi epic ultimately challenge my brain again, or end up in the “Crystal Skull” sin bin with a dodgy alien meeting?
The Plot
Set a few years into the future, Roy McBride (Brad Pitt) is the son of a legend. H. Clifford McBride (Tommy Lee Jones) was a space exploration pioneer. His picture hangs in the NASA hall of fame next to Buzz Aldrin’s. McBride senior went missing presumed dead near Neptune during a mission. The mission was to get outside the Sun’s heliosphere to scan for potential alien transmissions from nearby solar systems.
But something went badly wrong, and now the earth (and potentially all human life migrating into the solar system) is at risk from massive electromagnetic bursts arising from Neptune. Is Clifford alive and involved in the emerging crisis? The authorities send Roy on a secret mission to Mars to try to communicate with his father.
Majestic cinematography
Let’s start with a real positive. The cinematography here is first rate. Hoyte Van-Hoytema – well known for “Interstellar“, “Spectre” and “Dunkirk” – knocks this out of the park. In the same manner as “Blade Runner 2049“, many of the frames of this film could be blown up and placed on art gallery walls around the world.
Add to that some cracking film editing from John Axelrad and Lee Haugen, and some beautiful sound design and I predict the movie should feature strongly in the technical awards at the Oscars.
But “science fiction” has the word “science” in it….
I’d like to park my physics brain sometimes when I go to the movies, but I just can’t. So I really need sci-fi films to live up to the science part of their name. There are a number of areas, particularly at the back end of the film, when credibility goes out the window.
I can’t really say more here without giving spoilers, so I will leave them to a “Spoiler section” below the trailer…. don’t read this if you haven’t seen the film!
What IS this movie trying to be?
In my view the film is pretty schizophrenic in nature. This is what confused me about the trailer, jumping from a cerebral sci-fi vibe to moon buggy shoot-outs.
On one hand, its the standard (but always interesting) tale of a child abandoned by a hero-father and his attempts to reconcile what that’s done to his life and relationships. How can he ever square that circle without contacting his dad? As the film’s tag-line goes “The answers we seek are just outside our reach”.
On the other there are episodes of action that would fit happily into an action scene from Star Trek.
The two elements never really gel, leading to the feeling of the film having been written as a set of disconnected pages and the writers then saying “Hey, Jimmy, once you’ve finished making us the tea, could you just write a few lines to join those pages up into a shooting script?”. Then later, “What do you mean Jimmy you used BOTH piles of paper?!”.
The greatest sin of all
Unfortunately, the film commits a cardinal sin in my book. Those of you who follow my blog regularly might know what I’m going to say….
Voiceovers! I BLOODY HATE THEM!! It’s at the very extreme of what the great Mark Kermode calls “show don’t tell”.
Here, we don’t just have a little Brad Pitt set-up intro and he then shuts up. He just drones on and on and on with his inner thoughts. At least Matt Damon in “The Martian” got away with it by cleverly filming his video blog. And it’s not as if there isn’t a prime opportunity to use that device here! He is constantly having to talk to a computer to do his regular psychological tests! But that option is not picked up.
BIG BLACK MARK!
But the film has its moments
Bubbling under all of this are some stand-out moments where, for me, the film soared. One of them (ultimately setting me up for as much of a disappointing fall as some of the characters!) is the stunning opening shots aboard the “Sky Antenna” structure. Impressive and exciting, with falling bits of metal playing Russian Roulette with Roy’s iife.
Another strength for me is Brad Pitt. I’ve seen wildly differing views on this, but for me its a quiet but strong acting performance. There are many scenes when he has no lines, his inner (and our outer) voice gives it a miss, and he acts the socks off his peers. What with “Once Upon A Time… In Hollywood” its been a really good year for Pitt. I suspect “Hollywood” might be the one though that gets him his fourth acting Oscar nomination.
For a 2019 film, it’s actually a very male-heavy film, made more so by Pitt’s love-interest (Liv Tyler) being given virtually nothing to do other that look a bit sulky from a distance. I’m not even sure she gets a single line in the whole film! (“Miss Tyler – please sign for your script”. “But, there’s nothing in the envelope?”. “Quite Miss Tyler, Quite”).
The only decent female role goes to Ruth Negga as the Mars colony leader. Even then, she only has limited screen time and although having the title “Mars CEO” really doesn’t seem to have much power.
Elsewhere, its great to see both Tommy Lee Jones and Donald Sutherland back on the big screen again.
Final Thoughts
As any veteran RAF person will know, “Ad Astra” is Latin for “To the stars”. In space terms this is less “to the stars” and more “just beyond your front door”.
James Gray‘s film undoubtedly has high ambitions but, through its spasmodic script, never really gets there. It has the beauty of “Gravity” but none of the refinement; there’s an essence of “Space Odyssey” in places, but it never goes for the mystical angle; it has the potential to reflect the near-insanity through loneliness of “Silent Running” but never commits fully to that storyline. But if its novelty you’re looking for, it ticks the “floating monkeys in space” box!
I think it’s worth seeing on the big screen just for its visual beauty and Pitt’s performance. And as a major block-buster sci-fi film I enjoyed it to a degree. But for me it had just so many irritations that it failed to live up to my high expectations. A great shame and a frustrating disappointment.
But at least it’s great news for Richard Branson and Virgin Atlantic shareholders. They can be assured that the future is bright for their “long distance” flights in the future!
I really love sci-fi films with high ambitions. “Psychological” sci-fi like “Solaris” for example. And “Arrival” topped my movie list for 2016. In similar vein, “Ad Astra” is also a movie concerning attempted contact with alien life. So I had high hopes for it. But would this Sci-fi epic ultimately challenge my brain again, or end up in the “Crystal Skull” sin bin with a dodgy alien meeting?
The Plot
Set a few years into the future, Roy McBride (Brad Pitt) is the son of a legend. H. Clifford McBride (Tommy Lee Jones) was a space exploration pioneer. His picture hangs in the NASA hall of fame next to Buzz Aldrin’s. McBride senior went missing presumed dead near Neptune during a mission. The mission was to get outside the Sun’s heliosphere to scan for potential alien transmissions from nearby solar systems.
But something went badly wrong, and now the earth (and potentially all human life migrating into the solar system) is at risk from massive electromagnetic bursts arising from Neptune. Is Clifford alive and involved in the emerging crisis? The authorities send Roy on a secret mission to Mars to try to communicate with his father.
Majestic cinematography
Let’s start with a real positive. The cinematography here is first rate. Hoyte Van-Hoytema – well known for “Interstellar“, “Spectre” and “Dunkirk” – knocks this out of the park. In the same manner as “Blade Runner 2049“, many of the frames of this film could be blown up and placed on art gallery walls around the world.
Add to that some cracking film editing from John Axelrad and Lee Haugen, and some beautiful sound design and I predict the movie should feature strongly in the technical awards at the Oscars.
But “science fiction” has the word “science” in it….
I’d like to park my physics brain sometimes when I go to the movies, but I just can’t. So I really need sci-fi films to live up to the science part of their name. There are a number of areas, particularly at the back end of the film, when credibility goes out the window.
I can’t really say more here without giving spoilers, so I will leave them to a “Spoiler section” below the trailer…. don’t read this if you haven’t seen the film!
What IS this movie trying to be?
In my view the film is pretty schizophrenic in nature. This is what confused me about the trailer, jumping from a cerebral sci-fi vibe to moon buggy shoot-outs.
On one hand, its the standard (but always interesting) tale of a child abandoned by a hero-father and his attempts to reconcile what that’s done to his life and relationships. How can he ever square that circle without contacting his dad? As the film’s tag-line goes “The answers we seek are just outside our reach”.
On the other there are episodes of action that would fit happily into an action scene from Star Trek.
The two elements never really gel, leading to the feeling of the film having been written as a set of disconnected pages and the writers then saying “Hey, Jimmy, once you’ve finished making us the tea, could you just write a few lines to join those pages up into a shooting script?”. Then later, “What do you mean Jimmy you used BOTH piles of paper?!”.
The greatest sin of all
Unfortunately, the film commits a cardinal sin in my book. Those of you who follow my blog regularly might know what I’m going to say….
Voiceovers! I BLOODY HATE THEM!! It’s at the very extreme of what the great Mark Kermode calls “show don’t tell”.
Here, we don’t just have a little Brad Pitt set-up intro and he then shuts up. He just drones on and on and on with his inner thoughts. At least Matt Damon in “The Martian” got away with it by cleverly filming his video blog. And it’s not as if there isn’t a prime opportunity to use that device here! He is constantly having to talk to a computer to do his regular psychological tests! But that option is not picked up.
BIG BLACK MARK!
But the film has its moments
Bubbling under all of this are some stand-out moments where, for me, the film soared. One of them (ultimately setting me up for as much of a disappointing fall as some of the characters!) is the stunning opening shots aboard the “Sky Antenna” structure. Impressive and exciting, with falling bits of metal playing Russian Roulette with Roy’s iife.
Another strength for me is Brad Pitt. I’ve seen wildly differing views on this, but for me its a quiet but strong acting performance. There are many scenes when he has no lines, his inner (and our outer) voice gives it a miss, and he acts the socks off his peers. What with “Once Upon A Time… In Hollywood” its been a really good year for Pitt. I suspect “Hollywood” might be the one though that gets him his fourth acting Oscar nomination.
For a 2019 film, it’s actually a very male-heavy film, made more so by Pitt’s love-interest (Liv Tyler) being given virtually nothing to do other that look a bit sulky from a distance. I’m not even sure she gets a single line in the whole film! (“Miss Tyler – please sign for your script”. “But, there’s nothing in the envelope?”. “Quite Miss Tyler, Quite”).
The only decent female role goes to Ruth Negga as the Mars colony leader. Even then, she only has limited screen time and although having the title “Mars CEO” really doesn’t seem to have much power.
Elsewhere, its great to see both Tommy Lee Jones and Donald Sutherland back on the big screen again.
Final Thoughts
As any veteran RAF person will know, “Ad Astra” is Latin for “To the stars”. In space terms this is less “to the stars” and more “just beyond your front door”.
James Gray‘s film undoubtedly has high ambitions but, through its spasmodic script, never really gets there. It has the beauty of “Gravity” but none of the refinement; there’s an essence of “Space Odyssey” in places, but it never goes for the mystical angle; it has the potential to reflect the near-insanity through loneliness of “Silent Running” but never commits fully to that storyline. But if its novelty you’re looking for, it ticks the “floating monkeys in space” box!
I think it’s worth seeing on the big screen just for its visual beauty and Pitt’s performance. And as a major block-buster sci-fi film I enjoyed it to a degree. But for me it had just so many irritations that it failed to live up to my high expectations. A great shame and a frustrating disappointment.
But at least it’s great news for Richard Branson and Virgin Atlantic shareholders. They can be assured that the future is bright for their “long distance” flights in the future!