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BackToTheMovies (56 KP) rated Child's Play (2019) in Movies
Jun 21, 2019
After moving to a new city, young Andy Barclay receives a special present from his mother. A seemingly innocent Buddi doll that becomes his best friend. When the doll suddenly takes on a life of its own, Andy unites with other neighborhood children to stop the sinister toy from wreaking bloody havoc.
For months I’ve been hating on this reboot. Whilst I still don’t necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Child’s Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Here’s my Child’s Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chucky’s murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Child’s Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TV’s to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. He’s programmed to be Andy’s best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does there’s a loneliness about Andy’s character that almost seems to justify Chucky’s behavior. He doesn’t agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Child’s Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls it’s harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chucky’s infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great It’s just a shame I can’t take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! I’m not quite sure what look they were going for with this but it certainly isn’t a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I can’t picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. It’s like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Child’s Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Child’s Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. I’ve seen Aubrey in comedies where her humor never really hits home in any roles she’s in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film she’s in. Playing Andy’s mum in this film doesn’t work for me whatsoever. There’s no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesn’t play a key role as such to Andy’s arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative it’s how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Child’s Play may even persuade the die-hard fans to enjoy this one. It shouldn’t really be compared to the originals in any way shape or form although it does have an 80’s flair to it. Child’s Play has taken a new direction but has stayed relevant to modern times and whilst it’s taking a different path than the upcoming TV series, it’s safe to say Chucky really is back!
Thanks for checking out my Child’s Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
For months I’ve been hating on this reboot. Whilst I still don’t necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Child’s Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Here’s my Child’s Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chucky’s murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Child’s Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TV’s to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. He’s programmed to be Andy’s best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does there’s a loneliness about Andy’s character that almost seems to justify Chucky’s behavior. He doesn’t agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Child’s Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls it’s harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chucky’s infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great It’s just a shame I can’t take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! I’m not quite sure what look they were going for with this but it certainly isn’t a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I can’t picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. It’s like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Child’s Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Child’s Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. I’ve seen Aubrey in comedies where her humor never really hits home in any roles she’s in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film she’s in. Playing Andy’s mum in this film doesn’t work for me whatsoever. There’s no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesn’t play a key role as such to Andy’s arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative it’s how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Child’s Play may even persuade the die-hard fans to enjoy this one. It shouldn’t really be compared to the originals in any way shape or form although it does have an 80’s flair to it. Child’s Play has taken a new direction but has stayed relevant to modern times and whilst it’s taking a different path than the upcoming TV series, it’s safe to say Chucky really is back!
Thanks for checking out my Child’s Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
Piper (13 KP) rated Halloween (2018) in Movies
Nov 27, 2019
Strong Characters (3 more)
Clever Camerawork
Myers is Finally Threatening Again
Callbacks and Subversions
"You're The New Doctor Loomis" (3 more)
Plot Holes
Predictable
Too Much Off-Screen Action
Halloween: Predictably Unpredictable
Contains spoilers, click to show
After the nightmare of a film that was Rob Zombie’s 2007 remake, I refused to bother seeing the new Halloween on its release, choosing instead to pick up a DVD when the price got knocked down significantly enough - after all, we’ve had sixty-three Halloween films now and only half of them were worth watching (really, Season of the Witch?) and this looked, in all honesty, like just another slasher-film-reboot that wasn’t worth the time. Now don’t get me wrong, it absolutely was just another slasher film, but I wish I’d seen it in the cinema. And a year earlier than I did, too, because I missed out big-time with this one.
The plot is predictable, because of course it is. It’s Michael Myers, what’s he going to do except escape from a mental institution and murder some people? But it’s beautifully subverted; some of the characters you might expect to last till the end die before the halfway mark, and while there are a fair amount who are clearly written in just to be killed minutes later, they contribute to some fine, gory moments, so it’s kind of okay. There’s no real heartbreaker here - everyone you really rooted for just about makes it, and everyone that was kind of a dick is killed. And that’s fine, because in a way this isn’t the kind of slasher where it matters who lives or dies. This is a film about preserving a legacy, or perhaps just making one, and it works. We’re told fairly early on that this is a direct sequel to the original Halloween (Myers’ death toll at the start of this version, apparently, is five, which matches the amount of kills he made in the first movie - as far as I’m aware, Myers has actually killed over 100 people in all the films combined, so this is a nice subtle way of telling us what to remember and what to ignore completely). Having said that, references are made throughout to previous films, the best of which is of course a callback to the infamous scene where Myers tumbles out of a window only for his body to completely disappear - this time it’s Laurie Strode who does the tumbling, and she very much intends to do a little vanishing act of her own, Michael, so keep an eye on - oh, no, you looked away, I wonder what’s happening down there!
Focusing on Laurie for a moment, Jamie Lee Curtis does an absolutely excellent job here. Age has given her character wisdom, paranoia, and a whole lot of guns, and the acting carries a huge amount of weight and strength with it. Having said that, there are a couple of moments where all of Laurie’s fear-induced calculations don’t seem to have quite worked out - why bother going to such extreme measures to protect your house, if the front door you’re standing behind is half glass? But that’s the thing about this movie - whatever you plan for, whatever you think Michael Myers is capable of, he’s stronger than you think, he’s far more terrifying than you remember, and right until the end, he’s here to remind you that nothing you can plan for will ever be enough. Of course, we never actually see him die (again) so here’s looking forward to the next sequel…
The cinematography is something to at least wonder over - settings and locations are used well and established with some wonderful wide shots, and some of the best scenes are those where the camera just stays in one place, at a very carefully-selected window for example, and watches. Two scenes are worth a particular mention; the first, in which we follow our two podcast-host characters to a gas station, seems fairly dull until Myers catches up to them, but if you watch the background carefully enough you’ll see he’s there all along, beating people up and murdering quite happily (swapping his prison jumpsuit for those traditional blues in the process). The second seems a little superficial, in the grand scheme of the movie, but it’s well-shot nonetheless - we watch, from that aforementioned window, as a woman hears about all the nasty things Michael might do, and of course we can see him through another window, heading for her front door, and when he finally appears inside the house he’s all the way across the room, somehow, and he calmly wanders on over and stabs the woman quite coolly through the throat, in a scene which I think is most reminiscent of the original films.
However, there are moments when you don’t see Michael at all, just the aftermath, or where we watch him enter a room and are forced to linger in the corridor while he does the dirty work. A couple of times that’s just fine, but considering the nature of the film it would be nice to watch the magic happen a couple more times. And while we’re on the negatives, I might mention that the reveal that the Doctor Loomis-type character who looked, felt, and sounded like a rip-off of Doctor Loomis, and was even referred to as “The New Doctor Loomis” did EXACTLY the same thing that Doctor Loomis did, surprise, and we were somehow expected to not see that coming like it was all one big, obvious, heavy-handed bluff. A couple of the other characters, too, felt like they were purely rammed in there to be irritating - there were a couple of strong scenes with our podcast hosts, but ultimately they were rude, on-the-nose and annoyingly egotistical, and I was happy to see them go, just like Alison’s friend Foggy Nelson.
The score, incidentally, is worth mentioning, from a haunting retune of the original Myers theme to darker and more dramatic variations on it later on that really would have been quite something to hear in surround-sound. I’m never usually one to appreciate the music of a film quite fully enough, so it was nice to have this grab my attention in quite the way it did. Overall, it’s a genuinely good follow-on that takes the best of the films before and makes the best use of the worst of them. Some of the characters might be a little annoying, some of the action could have translated better on-screen than off, but it was an honest and straight-up slasher film and it just wasn’t that bad at all.
The plot is predictable, because of course it is. It’s Michael Myers, what’s he going to do except escape from a mental institution and murder some people? But it’s beautifully subverted; some of the characters you might expect to last till the end die before the halfway mark, and while there are a fair amount who are clearly written in just to be killed minutes later, they contribute to some fine, gory moments, so it’s kind of okay. There’s no real heartbreaker here - everyone you really rooted for just about makes it, and everyone that was kind of a dick is killed. And that’s fine, because in a way this isn’t the kind of slasher where it matters who lives or dies. This is a film about preserving a legacy, or perhaps just making one, and it works. We’re told fairly early on that this is a direct sequel to the original Halloween (Myers’ death toll at the start of this version, apparently, is five, which matches the amount of kills he made in the first movie - as far as I’m aware, Myers has actually killed over 100 people in all the films combined, so this is a nice subtle way of telling us what to remember and what to ignore completely). Having said that, references are made throughout to previous films, the best of which is of course a callback to the infamous scene where Myers tumbles out of a window only for his body to completely disappear - this time it’s Laurie Strode who does the tumbling, and she very much intends to do a little vanishing act of her own, Michael, so keep an eye on - oh, no, you looked away, I wonder what’s happening down there!
Focusing on Laurie for a moment, Jamie Lee Curtis does an absolutely excellent job here. Age has given her character wisdom, paranoia, and a whole lot of guns, and the acting carries a huge amount of weight and strength with it. Having said that, there are a couple of moments where all of Laurie’s fear-induced calculations don’t seem to have quite worked out - why bother going to such extreme measures to protect your house, if the front door you’re standing behind is half glass? But that’s the thing about this movie - whatever you plan for, whatever you think Michael Myers is capable of, he’s stronger than you think, he’s far more terrifying than you remember, and right until the end, he’s here to remind you that nothing you can plan for will ever be enough. Of course, we never actually see him die (again) so here’s looking forward to the next sequel…
The cinematography is something to at least wonder over - settings and locations are used well and established with some wonderful wide shots, and some of the best scenes are those where the camera just stays in one place, at a very carefully-selected window for example, and watches. Two scenes are worth a particular mention; the first, in which we follow our two podcast-host characters to a gas station, seems fairly dull until Myers catches up to them, but if you watch the background carefully enough you’ll see he’s there all along, beating people up and murdering quite happily (swapping his prison jumpsuit for those traditional blues in the process). The second seems a little superficial, in the grand scheme of the movie, but it’s well-shot nonetheless - we watch, from that aforementioned window, as a woman hears about all the nasty things Michael might do, and of course we can see him through another window, heading for her front door, and when he finally appears inside the house he’s all the way across the room, somehow, and he calmly wanders on over and stabs the woman quite coolly through the throat, in a scene which I think is most reminiscent of the original films.
However, there are moments when you don’t see Michael at all, just the aftermath, or where we watch him enter a room and are forced to linger in the corridor while he does the dirty work. A couple of times that’s just fine, but considering the nature of the film it would be nice to watch the magic happen a couple more times. And while we’re on the negatives, I might mention that the reveal that the Doctor Loomis-type character who looked, felt, and sounded like a rip-off of Doctor Loomis, and was even referred to as “The New Doctor Loomis” did EXACTLY the same thing that Doctor Loomis did, surprise, and we were somehow expected to not see that coming like it was all one big, obvious, heavy-handed bluff. A couple of the other characters, too, felt like they were purely rammed in there to be irritating - there were a couple of strong scenes with our podcast hosts, but ultimately they were rude, on-the-nose and annoyingly egotistical, and I was happy to see them go, just like Alison’s friend Foggy Nelson.
The score, incidentally, is worth mentioning, from a haunting retune of the original Myers theme to darker and more dramatic variations on it later on that really would have been quite something to hear in surround-sound. I’m never usually one to appreciate the music of a film quite fully enough, so it was nice to have this grab my attention in quite the way it did. Overall, it’s a genuinely good follow-on that takes the best of the films before and makes the best use of the worst of them. Some of the characters might be a little annoying, some of the action could have translated better on-screen than off, but it was an honest and straight-up slasher film and it just wasn’t that bad at all.
Purple Phoenix Games (2266 KP) rated Doctor Who: Time of the Daleks in Tabletop Games
Sep 2, 2021
I cannot tell you what a big fan of Doctor Who I am. I have one sticker on my car, and it’s a DW TARDIS right there in the upper left. They say you’ll never forget your first Doctor, and I only started watching several years into the reboot, but started with 9. And then 10 stole my heart. 11 was also quite amazing and I always reference people who have never seen the show to please please please watch, “Vincent and the Doctor.” If you watch that episode and are not moved to tears by the sheer beauty of the story being told, you absolutely have no soul. And if after watching that episode you are not an immediately-converted Whovian, then it was never meant to be. So why then is my rating on this game so lackluster if I love the IP so?
Doctor Who: Time of the Daleks (which I will carefully refer to as DW from here on out though I would never abbreviate to Dr.) is an adventure dice racing game, even though the only official tag is dice. In it, players take on the roles of different Doctor regenerations and will travel through time and space collecting companions, Timey-Wimey cards, and Sonic Charges in order to manipulate dice rolls to defeat Dilemmas and Time Anomalies that pop up at the absolute worst times.
To setup, follow the rulebook instructions – there are just too many components to detail here. The game takes up quite a bit of table space, so do make sure to use your largest table.
On a player’s turn they will be adding Sonic Charges, shuffling up companions, and rolling the TARDIS die to determine travel. Once at a location, the Doctor (and subsequent harem) can Adventure by assessing the challenge of dice results printed on the Location board plus the Dilemma disc combined. It is these icons that must be rolled (and possibly manipulated) in order to have a successful adventure. If successful, typically this involves a reward of moving the TARDIS pawn on the main Web of Time board closer to Gallifrey, in addition to other rewards. Failure on an adventure will typically result in the Dalek ship being moved further from Skaro and closer to Gallifrey.
Once the Doctors have had their turn, the Daleks will take a turn. Immediately move the Dalek ship one space on the Web of Time track towards Gallifrey, and if they have reached Gallifrey before any Doctor, or on the same turn as a Doctor, the Daleks win and the Doctors all lose. If not, play continues in this fashion until one of those win conditions are met, along with a couple more loss conditions I will leave you to discover.
This is a very pared-down synopsis of the rules, and I have intentionally left out several rules so as not to bog down my paraphrasing with minutia. Take this into consideration when determining if this is the game for you.
Components. All in all the components in DW are absolutely stellar! All the cardboard is thick and features great art and screencaps (which is a polarizing subject that I simply don’t mind). The dice are great quality, though I wish they had chosen a different color for the blue dice so that the TARDIS die would be the only blue in the box. The minis are great, and have interchangeable bases because throughout the game the Doctors may have to regenerate, thus switching to a different Doctor mid-game (awesome mechanic for this IP by the way).
Let me tell you why I like this DW game and why I do not. Firstly, the game is just too hard for me. Maybe it’s how I roll the dice, but I feel I am almost never in possession of enough resources to be able to reroll or manually manipulate my dice results enough to have the requisite amount of successful adventures. Some challenges require the Doctor to roll six dice, but then there are restrictions in play that drop a Doctor’s dice pool down to six, thus creating a you-must-roll-EXACTLY-what-you-need-to-win scenario that is tough to swallow for a dice game. Also, this next part is completely personal opinion, I wish that 10 was included in the starter box. I got my 11, and I appreciate that, but I feel like 10 is the most widely-popular Doctor in the franchise, or at least in New Who, so the ball was dropped here. I know I can purchase 10 in an expansion pack with 5 (and kudos to whomever made THAT combination), but I want him NOW.
Time travel games are so difficult to pull off, and with Doctor Who you HAVE to consider that time travel will play a very important part in gameplay. I believe this title handles it well, and even allows for multiple Doctors to work together (let’s not talk about time paradoxes for now). That is great and allows for excellent cooperative play, so I applaud the designer for that. I also enjoy the different abilities given by each different regeneration as well as what the companions each bring to the table. Perhaps a companion will add certain colors of dice to the Dice Pool, or allow the Doctor to switch out some of his generic dice for stronger and more specific dice, or simply allow rerolls of certain colors of dice. I dig that a lot. And seeing my precious companions in the game matched up to their Doctors fills me with a sense of nostalgia that I just do not feel in other games.
While this has been the subject of much deliberation on my part, I will be keeping my copy of the game, and will most definitely be adding 5 and 10 to the mix. I really want to like this game more than I do, and maybe having 10 in my arsenal is enough to do it, though I have my doubts. I love the Doctor Who IP and love dice games. I think this is a good game overall, and will continue to explore it with other gamers. Something will click, I’m sure of it. Purple Phoenix Games gives this one wibbly-wobbly 8 / 12. If you need a difficult dice game in your collection and also love the Doctors, pick up a copy. But also do yourself a favor and grab a copy of any expansion that includes your favorite Doctor – you will thank me later. Spoilers, sweetie, that’s coming in tomorrow’s post.
Doctor Who: Time of the Daleks (which I will carefully refer to as DW from here on out though I would never abbreviate to Dr.) is an adventure dice racing game, even though the only official tag is dice. In it, players take on the roles of different Doctor regenerations and will travel through time and space collecting companions, Timey-Wimey cards, and Sonic Charges in order to manipulate dice rolls to defeat Dilemmas and Time Anomalies that pop up at the absolute worst times.
To setup, follow the rulebook instructions – there are just too many components to detail here. The game takes up quite a bit of table space, so do make sure to use your largest table.
On a player’s turn they will be adding Sonic Charges, shuffling up companions, and rolling the TARDIS die to determine travel. Once at a location, the Doctor (and subsequent harem) can Adventure by assessing the challenge of dice results printed on the Location board plus the Dilemma disc combined. It is these icons that must be rolled (and possibly manipulated) in order to have a successful adventure. If successful, typically this involves a reward of moving the TARDIS pawn on the main Web of Time board closer to Gallifrey, in addition to other rewards. Failure on an adventure will typically result in the Dalek ship being moved further from Skaro and closer to Gallifrey.
Once the Doctors have had their turn, the Daleks will take a turn. Immediately move the Dalek ship one space on the Web of Time track towards Gallifrey, and if they have reached Gallifrey before any Doctor, or on the same turn as a Doctor, the Daleks win and the Doctors all lose. If not, play continues in this fashion until one of those win conditions are met, along with a couple more loss conditions I will leave you to discover.
This is a very pared-down synopsis of the rules, and I have intentionally left out several rules so as not to bog down my paraphrasing with minutia. Take this into consideration when determining if this is the game for you.
Components. All in all the components in DW are absolutely stellar! All the cardboard is thick and features great art and screencaps (which is a polarizing subject that I simply don’t mind). The dice are great quality, though I wish they had chosen a different color for the blue dice so that the TARDIS die would be the only blue in the box. The minis are great, and have interchangeable bases because throughout the game the Doctors may have to regenerate, thus switching to a different Doctor mid-game (awesome mechanic for this IP by the way).
Let me tell you why I like this DW game and why I do not. Firstly, the game is just too hard for me. Maybe it’s how I roll the dice, but I feel I am almost never in possession of enough resources to be able to reroll or manually manipulate my dice results enough to have the requisite amount of successful adventures. Some challenges require the Doctor to roll six dice, but then there are restrictions in play that drop a Doctor’s dice pool down to six, thus creating a you-must-roll-EXACTLY-what-you-need-to-win scenario that is tough to swallow for a dice game. Also, this next part is completely personal opinion, I wish that 10 was included in the starter box. I got my 11, and I appreciate that, but I feel like 10 is the most widely-popular Doctor in the franchise, or at least in New Who, so the ball was dropped here. I know I can purchase 10 in an expansion pack with 5 (and kudos to whomever made THAT combination), but I want him NOW.
Time travel games are so difficult to pull off, and with Doctor Who you HAVE to consider that time travel will play a very important part in gameplay. I believe this title handles it well, and even allows for multiple Doctors to work together (let’s not talk about time paradoxes for now). That is great and allows for excellent cooperative play, so I applaud the designer for that. I also enjoy the different abilities given by each different regeneration as well as what the companions each bring to the table. Perhaps a companion will add certain colors of dice to the Dice Pool, or allow the Doctor to switch out some of his generic dice for stronger and more specific dice, or simply allow rerolls of certain colors of dice. I dig that a lot. And seeing my precious companions in the game matched up to their Doctors fills me with a sense of nostalgia that I just do not feel in other games.
While this has been the subject of much deliberation on my part, I will be keeping my copy of the game, and will most definitely be adding 5 and 10 to the mix. I really want to like this game more than I do, and maybe having 10 in my arsenal is enough to do it, though I have my doubts. I love the Doctor Who IP and love dice games. I think this is a good game overall, and will continue to explore it with other gamers. Something will click, I’m sure of it. Purple Phoenix Games gives this one wibbly-wobbly 8 / 12. If you need a difficult dice game in your collection and also love the Doctors, pick up a copy. But also do yourself a favor and grab a copy of any expansion that includes your favorite Doctor – you will thank me later. Spoilers, sweetie, that’s coming in tomorrow’s post.
Bob Mann (459 KP) rated Tenet (2020) in Movies
Aug 28, 2020
Spectacular action set pieces done "in camera" (1 more)
Branagh and Debecki, both superb
Sound mix makes dialogue unintelligible (1 more)
In the words of Huey Lewis, "You're too darn loud"
Only Nolan and Schrödinger’s cat knows what’s going on.
Tenet is the long awaited new movie from Christopher Nolan. The movie that's set to reboot the multiplexes post-Covid. It's a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views.
How to write a spoiler-free plot summary? John David Washington (Denzel's lad) plays "The Protagonist" - a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he's on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about "Domestic Abuse"). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive.
This is cinema at its biggest and boldest. Nolan has taken a cinema 'splurge' gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his 'effects' for real and 'in camera', some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in "Inception" was crazy? You ain't seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film's ridiculously huge finale.
The 'inversion' aspects of the story also lends itself to some fight scenes - one in particular in an airport 'freeport' - which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role.
Nolan's crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema's cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing.
The 'timey-wimey' aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think "Oh, that's a sloppy continuity error" or "Shame the production design team missed that cracked wing mirror". Then later in the movie, you get at least a dozen "Aha!" moments. Some of them (no spoilers) are jaw-droppingly spectacular.
Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home.
And so to the first of my significant gripes with Tenet. The sound mix in the movie is all over the place. I'd go stronger than that... it's truly awful (expletive deleted)! Nolan often implements Shakespeare's trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to:
- the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from 'Tenetis'! (that joke © David Moody, 2020);
- the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?);
- a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears.
Overall, watching this with subtitles at a special showing might be advisable!
OK, so I only have a PhD in Physics... but at times I was completely lost as to the intricacies of the plot. It made "Inception" look like "The Tiger Who Came to Tea". There was an obvious 'McGuffin' in "Inception" - - ("These 'dream levels'... how exactly are they architected??".... "Don't worry... they'll never notice". And we didn't!) In "Tenet" there are McGuffins nested in McGuffins. So much of this is casually waved away as "future stuff... you're not qualified" that it feels vaguely condescending to the audience. At one point Kat says "I don't understand what's going on" - darn right luv.
There are also gaps in the storyline that jar. The word "Tenet"? What does it mean. Is it just a password? I'm none the wiser.
The manic pace of Tenet and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb's marriage problems from "Inception" or the father/daughter separation of "Interstellar". In fact, you barely care for anyone in the movie, perhaps with the exception of Kat.
It's a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It's a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years.
This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson's Potter co-star Clemence Poésy also pops up - rather more un-glam that usual - as the scientist plot-expositor early in the movie.
Nolan's regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery!
However, it's Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale.
So, given this was my most anticipated movie of the year, it's a bit of a curate's egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It's a movie which needs a second watch, so I'm heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch... it's not likely to go down... but it might go up.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/08/28/tenet-only-nolan-and-schrodingers-cat-knows-whats-going-on/ .)
How to write a spoiler-free plot summary? John David Washington (Denzel's lad) plays "The Protagonist" - a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he's on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about "Domestic Abuse"). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive.
This is cinema at its biggest and boldest. Nolan has taken a cinema 'splurge' gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his 'effects' for real and 'in camera', some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in "Inception" was crazy? You ain't seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film's ridiculously huge finale.
The 'inversion' aspects of the story also lends itself to some fight scenes - one in particular in an airport 'freeport' - which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role.
Nolan's crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema's cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing.
The 'timey-wimey' aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think "Oh, that's a sloppy continuity error" or "Shame the production design team missed that cracked wing mirror". Then later in the movie, you get at least a dozen "Aha!" moments. Some of them (no spoilers) are jaw-droppingly spectacular.
Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home.
And so to the first of my significant gripes with Tenet. The sound mix in the movie is all over the place. I'd go stronger than that... it's truly awful (expletive deleted)! Nolan often implements Shakespeare's trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to:
- the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from 'Tenetis'! (that joke © David Moody, 2020);
- the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?);
- a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears.
Overall, watching this with subtitles at a special showing might be advisable!
OK, so I only have a PhD in Physics... but at times I was completely lost as to the intricacies of the plot. It made "Inception" look like "The Tiger Who Came to Tea". There was an obvious 'McGuffin' in "Inception" - - ("These 'dream levels'... how exactly are they architected??".... "Don't worry... they'll never notice". And we didn't!) In "Tenet" there are McGuffins nested in McGuffins. So much of this is casually waved away as "future stuff... you're not qualified" that it feels vaguely condescending to the audience. At one point Kat says "I don't understand what's going on" - darn right luv.
There are also gaps in the storyline that jar. The word "Tenet"? What does it mean. Is it just a password? I'm none the wiser.
The manic pace of Tenet and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb's marriage problems from "Inception" or the father/daughter separation of "Interstellar". In fact, you barely care for anyone in the movie, perhaps with the exception of Kat.
It's a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It's a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years.
This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson's Potter co-star Clemence Poésy also pops up - rather more un-glam that usual - as the scientist plot-expositor early in the movie.
Nolan's regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery!
However, it's Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale.
So, given this was my most anticipated movie of the year, it's a bit of a curate's egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It's a movie which needs a second watch, so I'm heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch... it's not likely to go down... but it might go up.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/08/28/tenet-only-nolan-and-schrodingers-cat-knows-whats-going-on/ .)
Daniel Boyd (1066 KP) rated Spectre (2015) in Movies
Jul 20, 2017
Well written (1 more)
Good direction
Mr Hinx (1 more)
Not enough Cristoph Waltz
As good as the last?
Contains spoilers, click to show
When Casino Royale released in 2006, it was to be a soft reboot of the franchise that showed viewers the events of Bond’s first mission and it strived to rectify some of the silly gadgets etc that were being over-used with Brosnan’s Bond. In my opinion, Casino Royale was a great film, it just wasn’t a Bond film. It done away with all of the silly gimmicks and cheesy one liners and was an introduction to a more grounded version of the iconic character, which made for a great spy thriller but not a great Bond movie. Then Quantum of Solace came out and literally nobody cared, not many people went to see it, it didn’t make much money at the box office and to this day I’ve still not seen that whole movie from start to finish and to be honest, I’m perfectly okay with that. Skyfall was the third Craig Bond movie to be released and it was a triumph. Finally Craig felt like he was actually playing Bond and not just some random hard ass military spy. It even flirted with the idea of gadgets, had a flamboyant supervillain and introduced a young, fresh faced Q, which was a nice touch. The movie ended with Silva killing Judi Dench’s M and Bond killing Silva, Ralph Fiennes was then appointed with the title of M and Naomi Harris was revealed to be the new Moneypenny. So with the last movie pleasing both long time Bond fans and newcomers alike, SPECTRE had a lot to live up to.
The movie opens with Bond in Mexico City, during the Day Of The Dead festival, Bond listens in on a meeting of two Mafioso and learns about a mysterious organisation hoping to achieve world domination and their illusive leader known as ‘The Pale King.’ He then blows up the building they are in and ends up in a chopper fight with one of the gangsters, whom he eventually kills. This leads into a stunning opening credits sequence, that really is one of the best I’ve seen, (even though the song is still crap.) This is an awesome intro and probably tops Skyfall’s intro which was also very cool.
The rest of the movie is a joy to a long time Bond fan like me. It checks off all of the boxes that make up a classic Bond movie. An awesome Aston Martin car chase – check, a big bad henchman who doesn’t say much but is very hard to kill – check, an effective use of gadgets and cheesy one liners – check, a supervillain that has an epic secret layer that he invites Bond to – check, Bond being strapped to an elaborate device in that secret layer and tortured – check. Now all of this is really well executed, but the problem with it is that it throws any of the gritty realism shown in the last three movies right out of the window, which like I say is perfectly okay, but it causes this movie to feel as if it is taking place in a separate universe from the last three. This is not a problem to me, I am more than happy to have a good old fashioned Bond movie back on our screens that isn’t afraid to shy away from the use of gadgets and witty quips and it’s a movie that actually handles it well unlike some of the naff late Brosnan movies. On the other hand though, I can totally see why some people would have a problem with this movie, especially if you aren’t a long time Bond fan and prefer Craig’s more realistic turn as Bond. If that is the case then this movie really won’t be for you and the chances are that you will leave the cinema leaving pretty disappointed.
Now, let’s forget for a minute that this is a 007 movie and just analyse it as a traditional piece of cinema. First off, I’m really glad that they brought Sam Mendes back to direct this one, he is very obviously a passionate Bond fan and I think he has done a great job with both Bond movies that he has made and I also really hope they can keep him on to do at least one more movie in the series. This is also a well written movie, its script is witty and fast paced, while keeping making sure that although the audience is kept intrigued, they are never lost in whatever is going on. The cinematography in this movie is also great, besides a shaky cam chase sequence during the opening of the movie, I’d actually say that this is a masterfully shot movie. Hoyte Van Hoytema was the principle of photography for this movie and that guy really likes his eye pleasing shots and his use of the rule of thirds, which is especially evident in the funeral scene where Monica Belluci is introduced. There were two Bond girls in this movie and they were both serviceable, Belluci was really only there for exposition, but Lea Seadoux did a good job with her more fleshed out role.
Now, I want to talk about the main villain in the movie, played by the incredible Christophe Waltz. When he is in the movie, he steals every scene, however that leads me on to a problem I have with the movie. He is introduced near the beginning of the movie, within the first half hour, then a good hour passes before he is reintroduced, and although what is going on during that hour is entertaining, when you have already introduced a villain played by the master of playing villains that is Mr Waltz, it’s hard not to wonder when he is going to be back in the movie. Also I feel that this movie is quite long, possibly due to the large number of different locales and although it is actually only a few more minutes longer than Skyfall, Skyfall didn’t feel that long and this movie feels a lot longer. Also Mr Hinx is a pretty rubbish henchman, he is as forgetful as Jaws and Oddjob were memorable and doesn’t have a line until the last fight with Bond, I felt he was just very underused.
Now I’m going to go into spoiler territory, so if you haven’t seen the film yet, you may want to jump to the end of the review. Okay, we all good? Well turns out Christophe Waltz is actually the new Blofeld, which really isn’t surprising since he is the head of SPECTRE. What did annoy me a little, is the fact that he was Bond’s step-brother, kind of? But whatever, I can live with it. Also, although the villains lair was kind of a trope and wasn’t really used all too much before it was blown up, once Blofeld got his scar, he did look the part. So that is another classic Bond thing to introduce, Blofeld is to Bond what The Joker is to Batman and it is nice to have the arch nemesis introduced. One of the downsides to introducing Blofeld though is that it was obvious they weren’t going to kill him off, at least not in this movie, also Mr Hinx’s death was also rather anticlimactic. Andrew Scott’s character C was revealed to be a spy for SPECTRE and again had a fairly anticlimactic death, but he was perfectly serviceable in the role.
Overall I did enjoy the movie a great deal and although this is a review based on my opinion, I do somewhat have to take into consideration the bigger picture and how other fans will feel upon seeing this film. Like I have said, I think fans of old fashioned traditional Bond will love this movie as it finally fulfils the criteria for it to be labelled a ‘Bond’ movie, I can definitely see a lot of people being disappointed in the film if they go in expected another realistic spy thriller.
The movie opens with Bond in Mexico City, during the Day Of The Dead festival, Bond listens in on a meeting of two Mafioso and learns about a mysterious organisation hoping to achieve world domination and their illusive leader known as ‘The Pale King.’ He then blows up the building they are in and ends up in a chopper fight with one of the gangsters, whom he eventually kills. This leads into a stunning opening credits sequence, that really is one of the best I’ve seen, (even though the song is still crap.) This is an awesome intro and probably tops Skyfall’s intro which was also very cool.
The rest of the movie is a joy to a long time Bond fan like me. It checks off all of the boxes that make up a classic Bond movie. An awesome Aston Martin car chase – check, a big bad henchman who doesn’t say much but is very hard to kill – check, an effective use of gadgets and cheesy one liners – check, a supervillain that has an epic secret layer that he invites Bond to – check, Bond being strapped to an elaborate device in that secret layer and tortured – check. Now all of this is really well executed, but the problem with it is that it throws any of the gritty realism shown in the last three movies right out of the window, which like I say is perfectly okay, but it causes this movie to feel as if it is taking place in a separate universe from the last three. This is not a problem to me, I am more than happy to have a good old fashioned Bond movie back on our screens that isn’t afraid to shy away from the use of gadgets and witty quips and it’s a movie that actually handles it well unlike some of the naff late Brosnan movies. On the other hand though, I can totally see why some people would have a problem with this movie, especially if you aren’t a long time Bond fan and prefer Craig’s more realistic turn as Bond. If that is the case then this movie really won’t be for you and the chances are that you will leave the cinema leaving pretty disappointed.
Now, let’s forget for a minute that this is a 007 movie and just analyse it as a traditional piece of cinema. First off, I’m really glad that they brought Sam Mendes back to direct this one, he is very obviously a passionate Bond fan and I think he has done a great job with both Bond movies that he has made and I also really hope they can keep him on to do at least one more movie in the series. This is also a well written movie, its script is witty and fast paced, while keeping making sure that although the audience is kept intrigued, they are never lost in whatever is going on. The cinematography in this movie is also great, besides a shaky cam chase sequence during the opening of the movie, I’d actually say that this is a masterfully shot movie. Hoyte Van Hoytema was the principle of photography for this movie and that guy really likes his eye pleasing shots and his use of the rule of thirds, which is especially evident in the funeral scene where Monica Belluci is introduced. There were two Bond girls in this movie and they were both serviceable, Belluci was really only there for exposition, but Lea Seadoux did a good job with her more fleshed out role.
Now, I want to talk about the main villain in the movie, played by the incredible Christophe Waltz. When he is in the movie, he steals every scene, however that leads me on to a problem I have with the movie. He is introduced near the beginning of the movie, within the first half hour, then a good hour passes before he is reintroduced, and although what is going on during that hour is entertaining, when you have already introduced a villain played by the master of playing villains that is Mr Waltz, it’s hard not to wonder when he is going to be back in the movie. Also I feel that this movie is quite long, possibly due to the large number of different locales and although it is actually only a few more minutes longer than Skyfall, Skyfall didn’t feel that long and this movie feels a lot longer. Also Mr Hinx is a pretty rubbish henchman, he is as forgetful as Jaws and Oddjob were memorable and doesn’t have a line until the last fight with Bond, I felt he was just very underused.
Now I’m going to go into spoiler territory, so if you haven’t seen the film yet, you may want to jump to the end of the review. Okay, we all good? Well turns out Christophe Waltz is actually the new Blofeld, which really isn’t surprising since he is the head of SPECTRE. What did annoy me a little, is the fact that he was Bond’s step-brother, kind of? But whatever, I can live with it. Also, although the villains lair was kind of a trope and wasn’t really used all too much before it was blown up, once Blofeld got his scar, he did look the part. So that is another classic Bond thing to introduce, Blofeld is to Bond what The Joker is to Batman and it is nice to have the arch nemesis introduced. One of the downsides to introducing Blofeld though is that it was obvious they weren’t going to kill him off, at least not in this movie, also Mr Hinx’s death was also rather anticlimactic. Andrew Scott’s character C was revealed to be a spy for SPECTRE and again had a fairly anticlimactic death, but he was perfectly serviceable in the role.
Overall I did enjoy the movie a great deal and although this is a review based on my opinion, I do somewhat have to take into consideration the bigger picture and how other fans will feel upon seeing this film. Like I have said, I think fans of old fashioned traditional Bond will love this movie as it finally fulfils the criteria for it to be labelled a ‘Bond’ movie, I can definitely see a lot of people being disappointed in the film if they go in expected another realistic spy thriller.
Twisted Cysts (13 KP) rated Terminator: Dark Fate (2019) in Movies
Oct 24, 2019
Action (2 more)
Performances
VFX
Terminator 3?
I need your clothes, your Re-boot and your motorcycle.
That’s the second l pun I’ve made out of that infamous terminator 2 line this week and I feel dirty because of it;
Dirty, much like how I imagine the Terminator franchise feels after Genisys (or however they spelt it)
Terminator:Dark Fate however is billed as a follow up to Terminator & T2;
The former an 80’s classic that sparked a franchise & its sequel that has easily landed itself as one of the best sequels of all time.
So you probably know that this one is ditching all those other terminator films that came in the couple of decades that came between & aims to be the definitive third instalment of franchise (for the third time after Rise Against The Machines & Gen-I-size also promised to do the same) and it’s actually succeeds somewhat, but maybe not in the way a lot of die-hards will want it to.
It’s the “Day After Judgement Day” and Dark Fate opens strong; using footage of Sarah Connor’s crazed speech of Judgement day & machines whilst being interviewed by doctors from T2.
you’ll immediately appreciate Linda Hamilton’s presence one again & from the first scene that follows it’s immediately clear that the previous sequels were missing her presence on screen.
We get a very brief tease of that 80’s style future of skulls on beaches and red & blue lasers that you’ve now seen in 6 films before it but This film doesn’t mess about, Judgement Day didn’t Happen, Sarah, John & The T-800 stopped it in terminator 2 and this film wants you to know that.
You see this film takes a huge risk that may divide fans, but imo it’s a risk that needed to be taken;
it’s no longer about John Connor, not anymore.
We’re introduced to Dani Ramos (Natalia Reyes) & her brother Diego (Diego Boneta) as factory workers facing replacement my machines (see what they did there, I’ll forgive it though as it gets good).
Next up is the rather brutal and badass introduction to the new Kyle Reese in the form of McKenzie Davis’s Grace & then a similar although ironically more Graceful introduction to the new Terminator (Gabriel Luna) both coming back in time via the iconic time bubble effect of series has had since 1984.
And he’s The most polite & possibly menacing Terminator since the T-1000…
Yes I said polite but I’ll get back to that later.
This new ‘black metal’ terminator or “Rev-9” as its referred to is a sort of 2 for 1 deal Terminator, like a T-800 and a T-1000 at the same time, able to split up and act independently as liquid and skeleton simultaneously.
Unlike previous attempts though this terminator is genuinely threatening, he isn’t messing around and finds his new target Dani within minutes.
He’s lightening fast, intelligent and creepy.
The VFX on him thankfully holds up as well and look fantastic other than a few shoddy cgi jumps that can be forgiven.
Within minutes we’re into an explosive highway car chase and the action rarely lets up after.
Genuinely… theres a Mexican border assault, a US detention pen riot, a fight on fucking C5-M plane (it’s big) and then some.
The action in this film Is relentless, gripping and satisfying as fuck.
But story itself, is Terminator 1984, again…
New familiar threat from the future under a different name and that’s all that’s really new at its core.
That’s because Terminator Dark Fate actually serves as a Star Wars: The Force Awakens style Reboot.
T2’s Judgement Day didn’t happen, Skynet didn’t happen, Terminators as we know and love didn’t happen…
But eventually another A.I does and forces our incredibly toned soldier & the black-metal Rev-9 to Time Travel back to our present day.
Despite the opening chase echoing T2 this film matches Terminator 1 in tone entirely,
Everything is very desperate and our character are almost constantly on the run. If anything this is a beat for beat remake that also happens to be a sequel by bringing along the old cast (No J.J Abrams was not involved.
The cast are fantastic, every single member, this film is stollen by McKenzie Davis and Natalia Reyes, they own their roles.
Gabriel Luna as mentioned before is fantastically creepy, this terminator has one mission and won’t waste time killing innocent bystanders, he’s even well mannered! Which just adds to the creep factor.
And don’t worry, his eye-rolling one liner of “my whole body is a weapon” from the trailer is thankfully immediately shut down by an extra in the full scene.
As a re-boot these cast need to be the ones you care about. Wether you like it or not this is a passing of the torch from old to new and luckily They deliver.
I cared about them more than I did about Sarah Connor!
Who Now bitter as fuck, as ruthless as ever and making it known that she had nothing in life other than a vengeance for Terminators and a fear of a Judgement Day she’s actually prevented.
Linda Hamilton is also great as expected. Her character being even more cold, cynical and sarcastic than ever and if you think about that’s how it should be. Her presence is essential though and makes it feel like a sequel to terminator 2.
The comedy of T2 is missing until we’re eventually re-introduced to Arnie’s Terminator.
I genuinely found him hilarious, and his humour it not forced, he’s the most dead-Pan he’s ever been and of course you know that Sarah Connor isn’t going to trust this weirdly humorous rust-bucket.
But his story is quite a hard one to swallow, without spoiling we get an evolution of his character, one that’s definitely an interesting take, one that also create its own Jokes out it. But it’s doesn’t quite land. It’s too much.
That having been said Arnie is also absolutely fantastic with what he’s been given but unfortunately I didn’t care for him as much as I wanted to.
You’ll have questions multiple times throughout this film but thankfully our characters are intelligent enough to ask them before too long whilst the action is unfolding.
The film never hangs around too much and suffers a little for it, the story comes off as very little more than a remake and passing of the torch.
We get the sorry of this new threatening 2042 future via flashbacks (or is it flash forwards? time travel) and it’s grittier than we’re used to.
More in vein of Salvations dusty, military future than the synth wave metal and blue lasers, which is a shame but ultimately makes sense and enforces the idea that the future we saw in T1 & T2 was actually prevented by John & Sarah back in T2.
It’s risky but it’s the deviation from the formulae of the past attempts at a new Terminator that the franchise needs.
Luckily the risks set up also give us an appropriately emotional if predictable ending. There’s just not enough of the touching character development the the first two films had.
The film succeeded in making me care about the new characters but I left feeling like I didn’t get enough despite a bit of fleshing out via flashbacks that unfold as the film progressed.
Tim Miller (Deadpool) has directed one hell of an action film, Dark Fate is a sequel that wipes the slate clean for a future of new terminator films and just about succeeds buy the skin of it’s endo-skeleton teeth.
It’s not the best, it’s essentially the first film again with new and old cast but it’s good enough for a new series to blossom off it and thrill ride for the most part.
There are few questions left for the sequel and three-quel that I know are already planned (what the fuck does Rev-9 actually stand for anyway?) but that’s understandable, I just hope we get that sequel and that it’s as good or even better because this is the only terminator film I cared about since terminator 2.
The box office will ultimately be the decider and I can already hear the keyboard warriors that haven’t even seen the movie panning it on twitter but I for one, really enjoyed Terminator: Dark Fate.
Photo courtesy of Skydance & Paramount VIa talent house media.
7/10
That’s the second l pun I’ve made out of that infamous terminator 2 line this week and I feel dirty because of it;
Dirty, much like how I imagine the Terminator franchise feels after Genisys (or however they spelt it)
Terminator:Dark Fate however is billed as a follow up to Terminator & T2;
The former an 80’s classic that sparked a franchise & its sequel that has easily landed itself as one of the best sequels of all time.
So you probably know that this one is ditching all those other terminator films that came in the couple of decades that came between & aims to be the definitive third instalment of franchise (for the third time after Rise Against The Machines & Gen-I-size also promised to do the same) and it’s actually succeeds somewhat, but maybe not in the way a lot of die-hards will want it to.
It’s the “Day After Judgement Day” and Dark Fate opens strong; using footage of Sarah Connor’s crazed speech of Judgement day & machines whilst being interviewed by doctors from T2.
you’ll immediately appreciate Linda Hamilton’s presence one again & from the first scene that follows it’s immediately clear that the previous sequels were missing her presence on screen.
We get a very brief tease of that 80’s style future of skulls on beaches and red & blue lasers that you’ve now seen in 6 films before it but This film doesn’t mess about, Judgement Day didn’t Happen, Sarah, John & The T-800 stopped it in terminator 2 and this film wants you to know that.
You see this film takes a huge risk that may divide fans, but imo it’s a risk that needed to be taken;
it’s no longer about John Connor, not anymore.
We’re introduced to Dani Ramos (Natalia Reyes) & her brother Diego (Diego Boneta) as factory workers facing replacement my machines (see what they did there, I’ll forgive it though as it gets good).
Next up is the rather brutal and badass introduction to the new Kyle Reese in the form of McKenzie Davis’s Grace & then a similar although ironically more Graceful introduction to the new Terminator (Gabriel Luna) both coming back in time via the iconic time bubble effect of series has had since 1984.
And he’s The most polite & possibly menacing Terminator since the T-1000…
Yes I said polite but I’ll get back to that later.
This new ‘black metal’ terminator or “Rev-9” as its referred to is a sort of 2 for 1 deal Terminator, like a T-800 and a T-1000 at the same time, able to split up and act independently as liquid and skeleton simultaneously.
Unlike previous attempts though this terminator is genuinely threatening, he isn’t messing around and finds his new target Dani within minutes.
He’s lightening fast, intelligent and creepy.
The VFX on him thankfully holds up as well and look fantastic other than a few shoddy cgi jumps that can be forgiven.
Within minutes we’re into an explosive highway car chase and the action rarely lets up after.
Genuinely… theres a Mexican border assault, a US detention pen riot, a fight on fucking C5-M plane (it’s big) and then some.
The action in this film Is relentless, gripping and satisfying as fuck.
But story itself, is Terminator 1984, again…
New familiar threat from the future under a different name and that’s all that’s really new at its core.
That’s because Terminator Dark Fate actually serves as a Star Wars: The Force Awakens style Reboot.
T2’s Judgement Day didn’t happen, Skynet didn’t happen, Terminators as we know and love didn’t happen…
But eventually another A.I does and forces our incredibly toned soldier & the black-metal Rev-9 to Time Travel back to our present day.
Despite the opening chase echoing T2 this film matches Terminator 1 in tone entirely,
Everything is very desperate and our character are almost constantly on the run. If anything this is a beat for beat remake that also happens to be a sequel by bringing along the old cast (No J.J Abrams was not involved.
The cast are fantastic, every single member, this film is stollen by McKenzie Davis and Natalia Reyes, they own their roles.
Gabriel Luna as mentioned before is fantastically creepy, this terminator has one mission and won’t waste time killing innocent bystanders, he’s even well mannered! Which just adds to the creep factor.
And don’t worry, his eye-rolling one liner of “my whole body is a weapon” from the trailer is thankfully immediately shut down by an extra in the full scene.
As a re-boot these cast need to be the ones you care about. Wether you like it or not this is a passing of the torch from old to new and luckily They deliver.
I cared about them more than I did about Sarah Connor!
Who Now bitter as fuck, as ruthless as ever and making it known that she had nothing in life other than a vengeance for Terminators and a fear of a Judgement Day she’s actually prevented.
Linda Hamilton is also great as expected. Her character being even more cold, cynical and sarcastic than ever and if you think about that’s how it should be. Her presence is essential though and makes it feel like a sequel to terminator 2.
The comedy of T2 is missing until we’re eventually re-introduced to Arnie’s Terminator.
I genuinely found him hilarious, and his humour it not forced, he’s the most dead-Pan he’s ever been and of course you know that Sarah Connor isn’t going to trust this weirdly humorous rust-bucket.
But his story is quite a hard one to swallow, without spoiling we get an evolution of his character, one that’s definitely an interesting take, one that also create its own Jokes out it. But it’s doesn’t quite land. It’s too much.
That having been said Arnie is also absolutely fantastic with what he’s been given but unfortunately I didn’t care for him as much as I wanted to.
You’ll have questions multiple times throughout this film but thankfully our characters are intelligent enough to ask them before too long whilst the action is unfolding.
The film never hangs around too much and suffers a little for it, the story comes off as very little more than a remake and passing of the torch.
We get the sorry of this new threatening 2042 future via flashbacks (or is it flash forwards? time travel) and it’s grittier than we’re used to.
More in vein of Salvations dusty, military future than the synth wave metal and blue lasers, which is a shame but ultimately makes sense and enforces the idea that the future we saw in T1 & T2 was actually prevented by John & Sarah back in T2.
It’s risky but it’s the deviation from the formulae of the past attempts at a new Terminator that the franchise needs.
Luckily the risks set up also give us an appropriately emotional if predictable ending. There’s just not enough of the touching character development the the first two films had.
The film succeeded in making me care about the new characters but I left feeling like I didn’t get enough despite a bit of fleshing out via flashbacks that unfold as the film progressed.
Tim Miller (Deadpool) has directed one hell of an action film, Dark Fate is a sequel that wipes the slate clean for a future of new terminator films and just about succeeds buy the skin of it’s endo-skeleton teeth.
It’s not the best, it’s essentially the first film again with new and old cast but it’s good enough for a new series to blossom off it and thrill ride for the most part.
There are few questions left for the sequel and three-quel that I know are already planned (what the fuck does Rev-9 actually stand for anyway?) but that’s understandable, I just hope we get that sequel and that it’s as good or even better because this is the only terminator film I cared about since terminator 2.
The box office will ultimately be the decider and I can already hear the keyboard warriors that haven’t even seen the movie panning it on twitter but I for one, really enjoyed Terminator: Dark Fate.
Photo courtesy of Skydance & Paramount VIa talent house media.
7/10
Gareth von Kallenbach (980 KP) rated the PC version of Shadow Of The Tomb Raider in Video Games
Aug 14, 2019
It’s hard to believe that Lara Croft made her first appearance in a video game all the way back in 1996. Featuring cutting edge 3D polygon graphics and gameplay that would often be duplicated but never replicated, the game would go on to sell a whopping 7 million copies. Since that time there have been numerous sequels, culminating in a complete re-envisioning of the franchise in 2013. The new era of Lara Croft explores her origin story and how she ultimately became one of the toughest female characters to grace a PC or console screen.
Shadow of the Tomb Raider is the third installment in the reboot of the franchise. Lara is no longer a naïve, explorer in training, who struggles with the idea, much less the actual action, of killing a human being. The years have made her a more seasoned (and possibly more ruthless) tomb raider, and she has now blossomed into the badass character that she is known for. Her adventures will take her deep into Mexico and South America, where she is trying to stop the apocalypse that she had accidently set in motion when she acquired an ancient dagger. What follows is roughly a 12+ hour main story and several hours’ worth of side missions that help flesh out the story and the world around her. The best part is that the story has all the excitement and thrills you would get if you took an Indiana Jones movie and added some of the Mel Gibson drama Apocalypto, so buckle up and enjoy the ride.
Shadow of the Tomb Raider adds the social interaction that was largely missing in the previous installments. While there are still plenty of times when Lara will be out on her own, searching through ruins or trekking through the jungle, there are now several civilizations that Lara will be interacting with. Her adventures will take her to the ancient city of Paititi, where most of her interactions will be with the locals and the main antagonists to the trilogy, Trinity. It’s in the interactions where we really get to see Lara question not only her beliefs but also her actions when acquiring ancient artifacts. Many of the discussions revolve around what will happen if outsiders come and try to change their standard of living or force their own wills on the natives. These discussions cause Lara to reevaluate what she does for a living, and how her own actions have an impact far greater than she even realizes. The inclusion of so much interaction with other people brings a whole new dimension to the Tomb Raider world and it entrenches you in the story in a way that battling even the most dangerous tombs never could.
One of the most interesting levels in the game takes you back in time to when Lara was just a young girl. You get the opportunity to experience the world through the innocence of a child, and her own imagination as she explores her father’s mansion. It provides an interesting look into the events that would unfold during her impressionable years, and also helps to offer some additional insight into what drives her as an adult. It’s in this level, where you finally understand what fuels her desire and continues to push her forward.
Gameplay is largely the same as the previous titles, but they did add a few new interesting ways to traverse some of the more difficult terrain, such as the ability to rappel down cliffs or using a pick axe to traverse cave ceilings. Climbing, jumping and swinging are all handled very intuitively using the controller. Yes, there were times where I felt I was doing the right thing and fell to my death anyway, but at no time did I feel overly frustrated or blame the tight controls for my own missteps.
Swimming and diving play a far bigger role in Shadow than in the previous games. Long, deep caverns will require you to swim and find pockets of air to keep from drowning. There are even a few sequences where you will need to swim through plants to avoid the various eels and piranha that will kill you, and swimming through the plants is just as easy as it sounds. Thankfully I never felt these sequences played on for too long and they certainly added diversity to the levels. While generally swimming and diving in video games tend to be an exercise in frustration, I never felt that was the case here.
Stealth also plays a bigger role in this game and adds another key to your survival. The original 1996 game focused on your dual pistol wielding abilities to get you out of jams and in this game, you are rewarded with a subtler approach. Taking a nod from games such as Horizon Zero Dawn, you will now have plenty of opportunities for Lara to crouch in large grassy fields or cover herself in mud and hide amongst the vines and cliff walls to surprise and take down her enemies. You can now overcome many adversities utilizing only stealth, but don’t worry, if you prefer more upfront action, there are still the obligatory pistols, shotguns and machine guns you can use to dispatch foes. Stealth is just an added way to ensure that Lara saves her bullets for far bigger threats down the road.
Now for everyone’s favorite part…the tombs! What would Tomb Raider be without tombs and the challenges that come along with them? As you may have already guessed, all sorts of puzzles and booby traps await you on your journey. I found they kept a nice balance between challenging and entertaining and thankfully none of them were so obscure that you need to break out Google to overcome them. Another great addition to the game is that the player can now individually adjust the difficulty on puzzles and on combat. That means if you love combat but not the puzzles you can adjust them independently, which is something I wish far more games would take advantage of. Either way, there are plenty of challenging tombs where you can flex your tomb raiding muscles.
As your adventure progresses you will earn skill points that allow you to upgrade Lara with new abilities. There are three skill trees, each containing many different skills, where Lara can spend her points. The three trees are broken down into Seeker, Warrior and Scavenger and Lara can be upgraded when she arrives at a basecamp. A few of these upgraded skills are longer swim times, multiple stealth takedowns, and the ability to shoot two enemies simultaneously. It’s always exciting to upgrade your character and see how the gameplay changes with new your abilities. This game is no exception and the upgrades you choose can really enhance your experience.
Graphically, Lara has never looked better. I played the game on my Xbox One X in 4K and the environments were awe inspiring. The lush jungle almost jumps off the screen and the character models are some of the best I’ve seen in recent memory. Of course, all this beauty wouldn’t mean much if there were stutters and lags and thankfully I never noticed a single frame drop while playing the game in all its 4K glory. Shadow of the Tomb Raider feels like you are part of a high budget, summer blockbuster and at times it was difficult to determine the difference between a cutscene or live game play (in a “wow, this is incredible!” way). The acting was also top notch and Camilla Luddington once again does an outstanding job delivering her lines, even making some of the corniest statements endearing. Every aspect of this game is the best of the best and you will be hard pressed to find an area of the game that was lacking.
Shadow of the Tomb Raider in an amazing accomplishment and easily my favorite game of the series. I’d even go as far as saying that I enjoyed it more than Uncharted 2, which is a true testament to how much I loved this game. Not only does the story have a heart and completely engages the player but it’s thrilling and there is non-stop adventure until the very end. While this certainly could be the last game in the rebooted series, I truly hope it’s not as I already want to play another. I highly recommend picking this game up. As soon as you knock over your first pot, you will be happy that you did!
What I liked: Stunning graphics, Incredible voice acting, Blockbuster feel
What I liked less: Occasional areas where it was unclear where to go next
Shadow of the Tomb Raider is the third installment in the reboot of the franchise. Lara is no longer a naïve, explorer in training, who struggles with the idea, much less the actual action, of killing a human being. The years have made her a more seasoned (and possibly more ruthless) tomb raider, and she has now blossomed into the badass character that she is known for. Her adventures will take her deep into Mexico and South America, where she is trying to stop the apocalypse that she had accidently set in motion when she acquired an ancient dagger. What follows is roughly a 12+ hour main story and several hours’ worth of side missions that help flesh out the story and the world around her. The best part is that the story has all the excitement and thrills you would get if you took an Indiana Jones movie and added some of the Mel Gibson drama Apocalypto, so buckle up and enjoy the ride.
Shadow of the Tomb Raider adds the social interaction that was largely missing in the previous installments. While there are still plenty of times when Lara will be out on her own, searching through ruins or trekking through the jungle, there are now several civilizations that Lara will be interacting with. Her adventures will take her to the ancient city of Paititi, where most of her interactions will be with the locals and the main antagonists to the trilogy, Trinity. It’s in the interactions where we really get to see Lara question not only her beliefs but also her actions when acquiring ancient artifacts. Many of the discussions revolve around what will happen if outsiders come and try to change their standard of living or force their own wills on the natives. These discussions cause Lara to reevaluate what she does for a living, and how her own actions have an impact far greater than she even realizes. The inclusion of so much interaction with other people brings a whole new dimension to the Tomb Raider world and it entrenches you in the story in a way that battling even the most dangerous tombs never could.
One of the most interesting levels in the game takes you back in time to when Lara was just a young girl. You get the opportunity to experience the world through the innocence of a child, and her own imagination as she explores her father’s mansion. It provides an interesting look into the events that would unfold during her impressionable years, and also helps to offer some additional insight into what drives her as an adult. It’s in this level, where you finally understand what fuels her desire and continues to push her forward.
Gameplay is largely the same as the previous titles, but they did add a few new interesting ways to traverse some of the more difficult terrain, such as the ability to rappel down cliffs or using a pick axe to traverse cave ceilings. Climbing, jumping and swinging are all handled very intuitively using the controller. Yes, there were times where I felt I was doing the right thing and fell to my death anyway, but at no time did I feel overly frustrated or blame the tight controls for my own missteps.
Swimming and diving play a far bigger role in Shadow than in the previous games. Long, deep caverns will require you to swim and find pockets of air to keep from drowning. There are even a few sequences where you will need to swim through plants to avoid the various eels and piranha that will kill you, and swimming through the plants is just as easy as it sounds. Thankfully I never felt these sequences played on for too long and they certainly added diversity to the levels. While generally swimming and diving in video games tend to be an exercise in frustration, I never felt that was the case here.
Stealth also plays a bigger role in this game and adds another key to your survival. The original 1996 game focused on your dual pistol wielding abilities to get you out of jams and in this game, you are rewarded with a subtler approach. Taking a nod from games such as Horizon Zero Dawn, you will now have plenty of opportunities for Lara to crouch in large grassy fields or cover herself in mud and hide amongst the vines and cliff walls to surprise and take down her enemies. You can now overcome many adversities utilizing only stealth, but don’t worry, if you prefer more upfront action, there are still the obligatory pistols, shotguns and machine guns you can use to dispatch foes. Stealth is just an added way to ensure that Lara saves her bullets for far bigger threats down the road.
Now for everyone’s favorite part…the tombs! What would Tomb Raider be without tombs and the challenges that come along with them? As you may have already guessed, all sorts of puzzles and booby traps await you on your journey. I found they kept a nice balance between challenging and entertaining and thankfully none of them were so obscure that you need to break out Google to overcome them. Another great addition to the game is that the player can now individually adjust the difficulty on puzzles and on combat. That means if you love combat but not the puzzles you can adjust them independently, which is something I wish far more games would take advantage of. Either way, there are plenty of challenging tombs where you can flex your tomb raiding muscles.
As your adventure progresses you will earn skill points that allow you to upgrade Lara with new abilities. There are three skill trees, each containing many different skills, where Lara can spend her points. The three trees are broken down into Seeker, Warrior and Scavenger and Lara can be upgraded when she arrives at a basecamp. A few of these upgraded skills are longer swim times, multiple stealth takedowns, and the ability to shoot two enemies simultaneously. It’s always exciting to upgrade your character and see how the gameplay changes with new your abilities. This game is no exception and the upgrades you choose can really enhance your experience.
Graphically, Lara has never looked better. I played the game on my Xbox One X in 4K and the environments were awe inspiring. The lush jungle almost jumps off the screen and the character models are some of the best I’ve seen in recent memory. Of course, all this beauty wouldn’t mean much if there were stutters and lags and thankfully I never noticed a single frame drop while playing the game in all its 4K glory. Shadow of the Tomb Raider feels like you are part of a high budget, summer blockbuster and at times it was difficult to determine the difference between a cutscene or live game play (in a “wow, this is incredible!” way). The acting was also top notch and Camilla Luddington once again does an outstanding job delivering her lines, even making some of the corniest statements endearing. Every aspect of this game is the best of the best and you will be hard pressed to find an area of the game that was lacking.
Shadow of the Tomb Raider in an amazing accomplishment and easily my favorite game of the series. I’d even go as far as saying that I enjoyed it more than Uncharted 2, which is a true testament to how much I loved this game. Not only does the story have a heart and completely engages the player but it’s thrilling and there is non-stop adventure until the very end. While this certainly could be the last game in the rebooted series, I truly hope it’s not as I already want to play another. I highly recommend picking this game up. As soon as you knock over your first pot, you will be happy that you did!
What I liked: Stunning graphics, Incredible voice acting, Blockbuster feel
What I liked less: Occasional areas where it was unclear where to go next
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.