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Gareth von Kallenbach (977 KP) rated The Last of Us Remastered in Video Games
Jun 19, 2019
There are those who think that remakes of films and games are a bad idea
as they believe that they show a lack of creativity and originality.
However when a game is remastered it can be another story entirely.
Many classics from the past have had a graphical update especially PS 1-2
classics that were brought up to modern standards for the PS 3.
However when a game is remastered less than a year after the original game
was released, many are sure to have questions.
With The Last of Us Remastered, Naughty Dog has given Playstation 4 fans
what they have wanted, a top-flight game with a winning online component
and the amazing DLC that extended the story behind the award winning
original game for the PS 3.
The original game was a defining statement for the PS 3 but the game
pushed the system to the limits and with the PS 4 following soon after and
not being backwards compatible, a PS 4 version of the game was the best
option.
The game shines as the graphics have been taken to an even higher level
and the faster frame rates and smooth play let you really enjoy the
immersive world of the game as well as taking the horror to the next
level.
Playing as survivors from a Zombie like outbreak, players embark on an
escort mission to take a young girl to safety who may just hold the fate
of humanity in her blood.
The horror, violence, weapon crafting, and great narrative are all here,
and better than ever.
As a fan of the game, I had wondered if remastered graphics would be
enough to get players to want to play through a game again or if it was
mainly for those who had yet to purchase the game.
I have enjoyed the multiplay although I did have some long waits in my
connection, which thankfully have been addressed in the latest patch.
My wife had a interest in the PS 3 version of the game although horror
games are not her thing. When I started up the PS 4 version of the game
she was riveted to the tense opening scenes and narratives.
In the end there will be those who say that they do not want to play for a
game they have only recently purchased but Naughty Dog reduced the price $10.00 and added on the bonus content to make the investment a much better deal.
When you look at all the DLC content, episodes, as well as the ability to
screen cap and stream your action on the PS 4, to say nothing of the jaw
dropping visuals, The Last of Us Remastered is a must own for PS 4 fans as
they have made a near perfect game even better.
http://sknr.net/2014/08/12/the-last-of-us-remastered/
as they believe that they show a lack of creativity and originality.
However when a game is remastered it can be another story entirely.
Many classics from the past have had a graphical update especially PS 1-2
classics that were brought up to modern standards for the PS 3.
However when a game is remastered less than a year after the original game
was released, many are sure to have questions.
With The Last of Us Remastered, Naughty Dog has given Playstation 4 fans
what they have wanted, a top-flight game with a winning online component
and the amazing DLC that extended the story behind the award winning
original game for the PS 3.
The original game was a defining statement for the PS 3 but the game
pushed the system to the limits and with the PS 4 following soon after and
not being backwards compatible, a PS 4 version of the game was the best
option.
The game shines as the graphics have been taken to an even higher level
and the faster frame rates and smooth play let you really enjoy the
immersive world of the game as well as taking the horror to the next
level.
Playing as survivors from a Zombie like outbreak, players embark on an
escort mission to take a young girl to safety who may just hold the fate
of humanity in her blood.
The horror, violence, weapon crafting, and great narrative are all here,
and better than ever.
As a fan of the game, I had wondered if remastered graphics would be
enough to get players to want to play through a game again or if it was
mainly for those who had yet to purchase the game.
I have enjoyed the multiplay although I did have some long waits in my
connection, which thankfully have been addressed in the latest patch.
My wife had a interest in the PS 3 version of the game although horror
games are not her thing. When I started up the PS 4 version of the game
she was riveted to the tense opening scenes and narratives.
In the end there will be those who say that they do not want to play for a
game they have only recently purchased but Naughty Dog reduced the price $10.00 and added on the bonus content to make the investment a much better deal.
When you look at all the DLC content, episodes, as well as the ability to
screen cap and stream your action on the PS 4, to say nothing of the jaw
dropping visuals, The Last of Us Remastered is a must own for PS 4 fans as
they have made a near perfect game even better.
http://sknr.net/2014/08/12/the-last-of-us-remastered/
A Celebration of Mothers in Rhyme (Mariana Books Rhyming #11)
6.0
Rate It
Book
Mothers hold a special place in the world. When you think of many of your fondest memories, your...
Children Seasons Rhyming
RəX Regent (349 KP) rated Network (1976) in Movies
Feb 19, 2019
“I’m mad as hell and I’m not gonna take it anymore!”
…the lasting legacy of Peter Finch’s rants, which began with a breakdown and became the ratings winner in the 1970’s Network driven news media. This is of course, fiction but the commentary on the changing and more corporate driven American media industry of the the time is not without merit.
Smartly scripted, on the ball cynicism and yet harking back to the rose tinted nostalgia common with American media movies in whcih the industry was supposedly filled with Walter Cronkites,
the notion that American press was once beyond reproach is clearly a fallacy, in contrast, the notion that American news media was becoming so ratings driven that the news gave way to outlandish editorialism, is not.
Howard Beale (Finch) has an on air breakdown and whilst his best friend and producer, Max Schumacher (William Holden) tries to pull him from the air waves, allowing him to bow out with some dignity, the new wave of corporate management lead by CEO Frank Hackett (Robert Duval) and Holden’s replacement and eventual lover, Diana, (Faye Dunaway), have other ideas.
She sees an opportunity in the ratings spike gained by Beale’s rants which speak to the peoples growing frustrations and takes advantage, only driven by ratings.
Though the screenplay and performances are nothing less than brilliant, there are two core problems with this movie.
The first being that it is too long. The plot seems to be dragged out and repetitive as we approach the almost inevitable conclusion and the second is the level of preaching. But this is a symptom of the first, opening with a good argument, with old school journalism versus the TV generation and as the film goes on, the arguments need to escalate but since this was covered in the first half an hour, the points become laboured and over started.
The notion that the TV generation is shallow and amoral is put at odds with the middle aged newspaper reader, where time and decency are standard. This is a point which I refuse to accept since some of the 20th centuries most amoral acts where committed either before 1936, the birth of television and in the first couple of decades there after, by the very generation whcih is being held up as the moral standard here.
large_network_blu-ray_3The press has always had its paymasters, always had to sell newspapers and whilst the medium and methods may have changed, this does feel like sour grapes by the end. Criticising the characters motivations is one thing, but this film seems to imply that the modern world of television is making sociopaths of us all, dumbing us down and numbing our emotions to the point of accepting nothing but pure spectacle.
In many ways this is true but is also a very flawed argument and comes across as bunch old men crying into there Scotch in some dimly lit bar, in a way not too dissimilar to the print or broadcast media of today, hitting out at the blogging and twitter generation.
The ending was amusing though with the quote “This was the story of Howard Beale, the only known case of a man killed because of poor ratings”.
Very droll.
Smartly scripted, on the ball cynicism and yet harking back to the rose tinted nostalgia common with American media movies in whcih the industry was supposedly filled with Walter Cronkites,
the notion that American press was once beyond reproach is clearly a fallacy, in contrast, the notion that American news media was becoming so ratings driven that the news gave way to outlandish editorialism, is not.
Howard Beale (Finch) has an on air breakdown and whilst his best friend and producer, Max Schumacher (William Holden) tries to pull him from the air waves, allowing him to bow out with some dignity, the new wave of corporate management lead by CEO Frank Hackett (Robert Duval) and Holden’s replacement and eventual lover, Diana, (Faye Dunaway), have other ideas.
She sees an opportunity in the ratings spike gained by Beale’s rants which speak to the peoples growing frustrations and takes advantage, only driven by ratings.
Though the screenplay and performances are nothing less than brilliant, there are two core problems with this movie.
The first being that it is too long. The plot seems to be dragged out and repetitive as we approach the almost inevitable conclusion and the second is the level of preaching. But this is a symptom of the first, opening with a good argument, with old school journalism versus the TV generation and as the film goes on, the arguments need to escalate but since this was covered in the first half an hour, the points become laboured and over started.
The notion that the TV generation is shallow and amoral is put at odds with the middle aged newspaper reader, where time and decency are standard. This is a point which I refuse to accept since some of the 20th centuries most amoral acts where committed either before 1936, the birth of television and in the first couple of decades there after, by the very generation whcih is being held up as the moral standard here.
large_network_blu-ray_3The press has always had its paymasters, always had to sell newspapers and whilst the medium and methods may have changed, this does feel like sour grapes by the end. Criticising the characters motivations is one thing, but this film seems to imply that the modern world of television is making sociopaths of us all, dumbing us down and numbing our emotions to the point of accepting nothing but pure spectacle.
In many ways this is true but is also a very flawed argument and comes across as bunch old men crying into there Scotch in some dimly lit bar, in a way not too dissimilar to the print or broadcast media of today, hitting out at the blogging and twitter generation.
The ending was amusing though with the quote “This was the story of Howard Beale, the only known case of a man killed because of poor ratings”.
Very droll.
Movie Metropolis (309 KP) rated Dunkirk (2017) in Movies
Jun 10, 2019
A Triumph
Brutal. Spectacular. Emotional. These are just some of the adjectives you could use to describe Christopher Nolan’s latest film, Dunkirk. The director of Inception, The Dark Knight, Memento and Interstellar is one of the greatest film-makers working today and he raises the bar once again with this bleak tale from World War II.
With war, you have to respect the past whilst allowing modern-day film-goers to truly understand the brutality that ordinary people like you and I went through on a daily basis.
In May 1940, Germany had advanced into France, trapping Allied troops on the beaches of Dunkirk. Under air and ground cover from British and French forces, troops were slowly and methodically evacuated from the beach using not only military ships but civilian boats too. At the end of this incredible story of courage, 330,000 French, British, Belgian and Dutch soldiers were safely evacuated.
I found a quote the other day that said “Christopher Nolan is like Michael Bay for people who have ever read a book” and in Dunkirk that seems more apt than ever. Of course there are explosions, many of them, but they are interweaved with some incredible storytelling.
Split into three separate timelines, Dunkirk follows fisherman Mark Rylance as he sails to the beaches as part of the civilian rescue effort. On land we shadow a group of young soldiers desperately trying to get back home. Finally, the film flies alongside Tom Hardy’s brave Spitfire pilot as he tries his best to keep the beaches safe.
Each of the stories has something to offer but Mark Rylance’s performance is definitely the best, making his timeline the most interesting and often the most emotional. Addressing the elephant in the room, Harry Styles, is probably best at this part of the review – he’s excellent and in a much larger part than I had imagined.
In fact, all the performances are excellent, helped in part by Christopher Nolan’s incredible use of close-ups. This is a living, breathing war and as the audience, you feel as claustrophobic as the 400,000 men did waiting on that beach in 1940.
Moreover, the sound is just astonishing. I have never known a film use sound to such an extent to convey sheer terror. The score by Hans Zimmer, coupled with the deafening aircraft flying overhead and the rapid gunfire is incredibly harrowing and makes Dunkirk very hard to watch at times – despite its 12A certification.
Dunkirk is also a masterclass in practical effects. Nearly everything you see on screen was shot without the use of CGI and my goodness you can tell. We’re so used to seeing blockbusters filled to the brim with computer generated imagery that it’s easy to forget just how good practical effects can be.
Overall, Christopher Nolan has created a tasteful homage to a day that has been etched into the minds of generations of people. It would’ve been easy to create a film that focused on the action rather than the human details of this incredible story, but Nolan has managed to craft an absolute triumph. It’s one of the best films of the year and an absolute must-watch.
https://moviemetropolis.net/2017/07/23/dunkirk-review-a-triumph/
With war, you have to respect the past whilst allowing modern-day film-goers to truly understand the brutality that ordinary people like you and I went through on a daily basis.
In May 1940, Germany had advanced into France, trapping Allied troops on the beaches of Dunkirk. Under air and ground cover from British and French forces, troops were slowly and methodically evacuated from the beach using not only military ships but civilian boats too. At the end of this incredible story of courage, 330,000 French, British, Belgian and Dutch soldiers were safely evacuated.
I found a quote the other day that said “Christopher Nolan is like Michael Bay for people who have ever read a book” and in Dunkirk that seems more apt than ever. Of course there are explosions, many of them, but they are interweaved with some incredible storytelling.
Split into three separate timelines, Dunkirk follows fisherman Mark Rylance as he sails to the beaches as part of the civilian rescue effort. On land we shadow a group of young soldiers desperately trying to get back home. Finally, the film flies alongside Tom Hardy’s brave Spitfire pilot as he tries his best to keep the beaches safe.
Each of the stories has something to offer but Mark Rylance’s performance is definitely the best, making his timeline the most interesting and often the most emotional. Addressing the elephant in the room, Harry Styles, is probably best at this part of the review – he’s excellent and in a much larger part than I had imagined.
In fact, all the performances are excellent, helped in part by Christopher Nolan’s incredible use of close-ups. This is a living, breathing war and as the audience, you feel as claustrophobic as the 400,000 men did waiting on that beach in 1940.
Moreover, the sound is just astonishing. I have never known a film use sound to such an extent to convey sheer terror. The score by Hans Zimmer, coupled with the deafening aircraft flying overhead and the rapid gunfire is incredibly harrowing and makes Dunkirk very hard to watch at times – despite its 12A certification.
Dunkirk is also a masterclass in practical effects. Nearly everything you see on screen was shot without the use of CGI and my goodness you can tell. We’re so used to seeing blockbusters filled to the brim with computer generated imagery that it’s easy to forget just how good practical effects can be.
Overall, Christopher Nolan has created a tasteful homage to a day that has been etched into the minds of generations of people. It would’ve been easy to create a film that focused on the action rather than the human details of this incredible story, but Nolan has managed to craft an absolute triumph. It’s one of the best films of the year and an absolute must-watch.
https://moviemetropolis.net/2017/07/23/dunkirk-review-a-triumph/
Movie Metropolis (309 KP) rated Kingsman: The Golden Circle (2017) in Movies
Jun 10, 2019
Welcome back, chaps
Kingsman: The Secret Service was one of the surprise hits of 2014. Marketed poorly by an unassuming set of trailers, the end result was a film as big a surprise as Guardians of the Galaxy was.
We all know what happened. Kingsman senior grossed over $400million worldwide and a sequel was soon greenlit with a much bigger budget and a marketing effort worth of the first film.
But has some of that old-school charm been lost in the transition to high-budget movie event of the summer?
With their headquarters destroyed and the world held hostage by a villainous drug lord (Julianne Moore), members of Kingsman find new allies when they discover a spy organization in the United States known as Statesman. In an adventure that tests their strength and wits, the elite agents band together to battle a ruthless enemy and save the day, something that seems to be a bit of a habit for Eggsy (Taron Egerton) of late.
Thankfully, I’m pleased to tell you that Matthew Vaughn’s follow-up, while not bettering its predecessor, manages to stay away from many of the sequel pitfalls we tend to see nowadays.
Opening with a fantastically filmed cab ride through London’s narrow streets, the first sequence sets up the movie perfectly. This is a rollercoaster ride – loud, at times exhausting but completely and utterly exhilarating.
That familiar cast we grew to love in the first film return including the not-so-secret return of Colin Firth’s Harry. It’s disappointing to have seen the big reveal of his survival from Samuel L Jackson’s bullet in the trailers, but it’s still a welcome return and a smart move by the writers – even if the circumstances surrounding his well-being are a little farfetched.
Taron Egerton is once again on top form and Mark Strong is ever-reliable as intelligence agent, Merlin. Of the newcomers, Channing Tatum, Halle Berry and Jeff Bridges make a small, but noticeable impact on proceedings though I would’ve liked to have seen them a little more throughout the 140-minute runtime.
You’re right to gasp. Kingsman: The Golden Circle is a good 10 minutes or so longer than its predecessor and while the action is choreographed to the same exceptional standard of its forbearer, it does feel like a long film.
Nevertheless, if there’s one thing Matthew Vaughn knows how to direct, it’s action. The increased budget this time around means our heroes embark on a globetrotting mission that includes Cambodia, Italy, the US and of course Blighty. The cinematography is wonderful with the Cambodian lair of our main villain being a particular highlight.
Speaking of which, Julianne Moore is absolutely sublime. Described by Vaughn himself as “Martha Stewart on crack”, she is right up there with Samuel L Jackson’s outlandish Richmond Valentine. Watch out for a surprise turn from Elton John that will have you in stitches whenever the film switches to Moore’s mountain-top lair.
With this and President Alma Coin from The Hunger Games on her CV, she’s proving a great choice to play wicked characters – she’s certainly got the acting chops for it.
Overall, there’s far too much in Kingsman: The Golden Circle to talk about in one review, but it’s fair to say this sequel is a big success. With beautifully choreographed action and some cracking performances, it’s more than a candidate for best film of the year. Flawed? Yes. But you’ll be having too much fun to notice. Bring on the sequel.
https://moviemetropolis.net/2017/09/21/kingsman-the-golden-circle-review/
We all know what happened. Kingsman senior grossed over $400million worldwide and a sequel was soon greenlit with a much bigger budget and a marketing effort worth of the first film.
But has some of that old-school charm been lost in the transition to high-budget movie event of the summer?
With their headquarters destroyed and the world held hostage by a villainous drug lord (Julianne Moore), members of Kingsman find new allies when they discover a spy organization in the United States known as Statesman. In an adventure that tests their strength and wits, the elite agents band together to battle a ruthless enemy and save the day, something that seems to be a bit of a habit for Eggsy (Taron Egerton) of late.
Thankfully, I’m pleased to tell you that Matthew Vaughn’s follow-up, while not bettering its predecessor, manages to stay away from many of the sequel pitfalls we tend to see nowadays.
Opening with a fantastically filmed cab ride through London’s narrow streets, the first sequence sets up the movie perfectly. This is a rollercoaster ride – loud, at times exhausting but completely and utterly exhilarating.
That familiar cast we grew to love in the first film return including the not-so-secret return of Colin Firth’s Harry. It’s disappointing to have seen the big reveal of his survival from Samuel L Jackson’s bullet in the trailers, but it’s still a welcome return and a smart move by the writers – even if the circumstances surrounding his well-being are a little farfetched.
Taron Egerton is once again on top form and Mark Strong is ever-reliable as intelligence agent, Merlin. Of the newcomers, Channing Tatum, Halle Berry and Jeff Bridges make a small, but noticeable impact on proceedings though I would’ve liked to have seen them a little more throughout the 140-minute runtime.
You’re right to gasp. Kingsman: The Golden Circle is a good 10 minutes or so longer than its predecessor and while the action is choreographed to the same exceptional standard of its forbearer, it does feel like a long film.
Nevertheless, if there’s one thing Matthew Vaughn knows how to direct, it’s action. The increased budget this time around means our heroes embark on a globetrotting mission that includes Cambodia, Italy, the US and of course Blighty. The cinematography is wonderful with the Cambodian lair of our main villain being a particular highlight.
Speaking of which, Julianne Moore is absolutely sublime. Described by Vaughn himself as “Martha Stewart on crack”, she is right up there with Samuel L Jackson’s outlandish Richmond Valentine. Watch out for a surprise turn from Elton John that will have you in stitches whenever the film switches to Moore’s mountain-top lair.
With this and President Alma Coin from The Hunger Games on her CV, she’s proving a great choice to play wicked characters – she’s certainly got the acting chops for it.
Overall, there’s far too much in Kingsman: The Golden Circle to talk about in one review, but it’s fair to say this sequel is a big success. With beautifully choreographed action and some cracking performances, it’s more than a candidate for best film of the year. Flawed? Yes. But you’ll be having too much fun to notice. Bring on the sequel.
https://moviemetropolis.net/2017/09/21/kingsman-the-golden-circle-review/