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Movie Metropolis (309 KP) rated The Hunger Games: Catching Fire (2013) in Movies
Jun 10, 2019
The Hunger Games franchise has come at a time that is almost certain to gather box-office success. After Harry Potter finished two years ago and The Twilight Saga bowed out just 12 months ago, teenagers and young adults have been craving for a new series of blockbusters to ‘sink their teeth into’.
The first film of this new dawn, based on Suzanne Collins’ successful book, was released in March last year and greeted with warm reviews and a staggering box-office performance, a gross just shy of $700m to be a little more precise.
However, rumoured tensions between director Gary Ross and studio Color Force meant that despite its impressive takings, he was not to helm its sequel, Catching Fire. Taking over from him is Francis Lawrence, director of I am Legend, Constantine and Water for Elephants, but can he better what preceded him?
The series centres around an annual ‘games’, in which people aged between 12 and 18 must fight to the death in a custom made arena, leaving only one victor, who is showered with riches for the rest of their lives.
Jennifer Lawrence, returning to the series after her first Oscar win this year, plays Katniss Everdeen, a plucky young teen who fresh from winning the previous Hunger Games tournament alongside her beau Peeta Mellark, played by Josh Hutcherson, travel through the land of Panem (a post-apocalyptic America) to spread their story and persuade others to take part in the vicious tournament.
However, after angering the Capitol, run by cold-hearted President Snow (Donald Sutherland) who becomes increasingly concerned that an up-rising is brewing, it is decided that previous victors must once again take part, to show that even they are not above the law.
For those fresh to the series, I warn you not to watch this film without seeing the first, as much of the plot will be near incomprehensible and your enjoyment will suffer as a result.
The film starts slowly, giving enough backstory before the inevitable return to the arena. Thankfully despite its large running time of 146 minutes, it never falters and after allowing the audience to see how the world has changed, it is back into the new and improved arena for the 75th Hunger Games.
Gone is the shaky handy-cam of director Gary Ross, and in its place we are treated to sweeping shots of numerous landscapes; from the coal-mining community of District 12, to the bright lights of the Capitol and even the large arena which has been given a radical overhaul to make it even more challenging than ever.
The acting is simply sublime by all accounts. Jennifer Lawrence, fresh from the honour of an Oscar plays Katniss with such a subtle grace that she is mesmerising to watch, a real treat for fans of J-Law and of course Suzanne Collins’ character. Liam Hemsworth returns to the series as Katniss’ secret love interest Gale, but he is sorely underused. Josh Hutcherson’s Peeta Mellark is as irritating as ever and lacks a backbone, but this is more to do with the script than Hutcherson’s abilities as an actor.
Woody Harrelson, Elizabeth Banks, Stanley Tucci also return, with the latter being a real stand-out in a film which is filled with quirky and unusual characters.
Those of you who have read my review of the previous film will know that I wasn’t a fan of its lacklustre special effects. Thankfully my prayers were answered and due to a budget that has almost doubled, the effects are glorious. The Capitol is perhaps the best use of the CGI, where the first film looked like a Star Wars: Episode I rip-off, here we really feel like the city is living and breathing for the very first time.
Unfortunately, it seems like the special effects team are still struggling with CGI fire as the computer generated flames are still laughable in their realism.
At 146 minutes, Catching Fire was always going to numb your backside, but you don’t care, the film is an absolute treat to watch. Director Francis Lawrence has retained the violent nature of the series despite its ridiculous 12A certification and manages to get around those limitations with style and flair.
Yes, if I was pushed I’d say it was a little over-long, the CGI flames still look ridiculous and the ending is far too abrupt, but if those are the only faults I can find in a film, then clearly it is more than worth the increasingly expensive price of a cinema admission ticket.
https://moviemetropolis.net/2013/11/23/hunger-games-catching-fire-review/
The first film of this new dawn, based on Suzanne Collins’ successful book, was released in March last year and greeted with warm reviews and a staggering box-office performance, a gross just shy of $700m to be a little more precise.
However, rumoured tensions between director Gary Ross and studio Color Force meant that despite its impressive takings, he was not to helm its sequel, Catching Fire. Taking over from him is Francis Lawrence, director of I am Legend, Constantine and Water for Elephants, but can he better what preceded him?
The series centres around an annual ‘games’, in which people aged between 12 and 18 must fight to the death in a custom made arena, leaving only one victor, who is showered with riches for the rest of their lives.
Jennifer Lawrence, returning to the series after her first Oscar win this year, plays Katniss Everdeen, a plucky young teen who fresh from winning the previous Hunger Games tournament alongside her beau Peeta Mellark, played by Josh Hutcherson, travel through the land of Panem (a post-apocalyptic America) to spread their story and persuade others to take part in the vicious tournament.
However, after angering the Capitol, run by cold-hearted President Snow (Donald Sutherland) who becomes increasingly concerned that an up-rising is brewing, it is decided that previous victors must once again take part, to show that even they are not above the law.
For those fresh to the series, I warn you not to watch this film without seeing the first, as much of the plot will be near incomprehensible and your enjoyment will suffer as a result.
The film starts slowly, giving enough backstory before the inevitable return to the arena. Thankfully despite its large running time of 146 minutes, it never falters and after allowing the audience to see how the world has changed, it is back into the new and improved arena for the 75th Hunger Games.
Gone is the shaky handy-cam of director Gary Ross, and in its place we are treated to sweeping shots of numerous landscapes; from the coal-mining community of District 12, to the bright lights of the Capitol and even the large arena which has been given a radical overhaul to make it even more challenging than ever.
The acting is simply sublime by all accounts. Jennifer Lawrence, fresh from the honour of an Oscar plays Katniss with such a subtle grace that she is mesmerising to watch, a real treat for fans of J-Law and of course Suzanne Collins’ character. Liam Hemsworth returns to the series as Katniss’ secret love interest Gale, but he is sorely underused. Josh Hutcherson’s Peeta Mellark is as irritating as ever and lacks a backbone, but this is more to do with the script than Hutcherson’s abilities as an actor.
Woody Harrelson, Elizabeth Banks, Stanley Tucci also return, with the latter being a real stand-out in a film which is filled with quirky and unusual characters.
Those of you who have read my review of the previous film will know that I wasn’t a fan of its lacklustre special effects. Thankfully my prayers were answered and due to a budget that has almost doubled, the effects are glorious. The Capitol is perhaps the best use of the CGI, where the first film looked like a Star Wars: Episode I rip-off, here we really feel like the city is living and breathing for the very first time.
Unfortunately, it seems like the special effects team are still struggling with CGI fire as the computer generated flames are still laughable in their realism.
At 146 minutes, Catching Fire was always going to numb your backside, but you don’t care, the film is an absolute treat to watch. Director Francis Lawrence has retained the violent nature of the series despite its ridiculous 12A certification and manages to get around those limitations with style and flair.
Yes, if I was pushed I’d say it was a little over-long, the CGI flames still look ridiculous and the ending is far too abrupt, but if those are the only faults I can find in a film, then clearly it is more than worth the increasingly expensive price of a cinema admission ticket.
https://moviemetropolis.net/2013/11/23/hunger-games-catching-fire-review/
Gareth von Kallenbach (980 KP) rated The Lone Ranger (2013) in Movies
Jun 19, 2019
With much of the pre-release coverage of the film centered on the reportedly $250 million plus shooting budget, audiences can finally see the fruits of this labor as Disney brings “The Lone Ranger” to the big screen. The movie stars Johnny Depp as Tonto and tells a slightly updated tale of the masked ranger, yet stays refreshingly grounded in the traditions and history of the source material.
Armie Hammer stars as John Reid, a district attorney who returns to Texas to provide justice to a lawless land that is in the process of great expansion thanks to the pending completion of the Transcontinental Railroad. In the 1860s, the country is in a great state of change as the completion of the railroad will allow people to travel coast-to-coast across, something that was once an extremely long and dangerous journey to undertake.
The local railroad administrator plans to do a public hanging of notorious outlaw murder Butch Cavendish (William Fichtner), as an example of how law and order has come to the wild frontier, a show to encourage Western expansion and install a sense of security in the local populace. The local Comanche tribes are told that as long as they continue to honor the established treaties they will be able to coexist in peace with the Western settlers.
Following a daring escape from the train that is carrying him to justice, Cavendish departs into the desert with his gang of outlaws. Not willing to let him escape justice once again, Reid’s brother Dan deputizes John, and leads the posse to bring Cavendish to justice. Now as anybody who’s followed any of the previous incarnations of the story knows, the posse is ambushed and all the Rangers are brutally murdered by Cavendish and is outlaws. Enter Tonto, who discovers John barely alive, and overseas his restoration to health. It is Tonto who convinces Reid to wear a mask as he is convinced that Cavendish had help and that it would be best for John and his brother’s family if the world believed John died with the other rangers to save them from any possible retribution
In a refreshing change of pace, Reid is not a swaggering fountain of machismo. He is a man who puts his faith in the law rather than in a six shooter and is actually hesitant to fire a weapon and use lethal forms of violence to dispense justice. This brings him at odds from time to time with Tonto who tries to walk the thin line between his people and his beliefs and the ever-changing modern world around him.
When the military began systematically retaliating against Tonto’s people for perceived raids against the townspeople, Reid and Tonto not only must deal with Cavendish and his gang of outlaws but must get to the bottom of a larger mystery that threatens to not only eradicate the Comanche people but to threaten the good citizens of the area. With his trusty and at times comical white horse, Silver, Reid and Tonto must learn to coexist with each other in a desperate race against time.
The film was an extremely enjoyable and fresh take on the characters that I really enjoyed. By giving the characters slightly more updated and relatable personas and traits yet retaining their core identities in history, Depp and Hammer made this a Western that was fun and cool and yet stayed true to the origins of the characters while making them more appealing to a modern audience. What really impressed me was Depp how he took what is often jokingly seen as a stereo typical Western sidekick and made him a very compelling yet diverse character. Yes, there is a lot of humor in the film but it is entertainingly at the expense of Reid, most often with Tonto getting some of the best lines in the film. I really appreciated the fact how it told a story without being overly politically correct or preaching, letting the characters and the action convey the message.
The action in the film is solid and the harrowing finale had people in the test screening cheering the action. Producer Jerry Bruckheimer and Director Gore Verbinski are to be commended for bringing a lively story that introduces the iconic characters to a new generation of fans. I hope that the film is able to draw fans and gives Disney’s a good return on its large investment as I would love to see Depp and Hammer back for future adventures. “The Lone Ranger” was the most pleasant surprise of the summer to date and the only summer film so far that I would pay to see again.
http://sknr.net/2013/07/03/the-lone-ranger/
Armie Hammer stars as John Reid, a district attorney who returns to Texas to provide justice to a lawless land that is in the process of great expansion thanks to the pending completion of the Transcontinental Railroad. In the 1860s, the country is in a great state of change as the completion of the railroad will allow people to travel coast-to-coast across, something that was once an extremely long and dangerous journey to undertake.
The local railroad administrator plans to do a public hanging of notorious outlaw murder Butch Cavendish (William Fichtner), as an example of how law and order has come to the wild frontier, a show to encourage Western expansion and install a sense of security in the local populace. The local Comanche tribes are told that as long as they continue to honor the established treaties they will be able to coexist in peace with the Western settlers.
Following a daring escape from the train that is carrying him to justice, Cavendish departs into the desert with his gang of outlaws. Not willing to let him escape justice once again, Reid’s brother Dan deputizes John, and leads the posse to bring Cavendish to justice. Now as anybody who’s followed any of the previous incarnations of the story knows, the posse is ambushed and all the Rangers are brutally murdered by Cavendish and is outlaws. Enter Tonto, who discovers John barely alive, and overseas his restoration to health. It is Tonto who convinces Reid to wear a mask as he is convinced that Cavendish had help and that it would be best for John and his brother’s family if the world believed John died with the other rangers to save them from any possible retribution
In a refreshing change of pace, Reid is not a swaggering fountain of machismo. He is a man who puts his faith in the law rather than in a six shooter and is actually hesitant to fire a weapon and use lethal forms of violence to dispense justice. This brings him at odds from time to time with Tonto who tries to walk the thin line between his people and his beliefs and the ever-changing modern world around him.
When the military began systematically retaliating against Tonto’s people for perceived raids against the townspeople, Reid and Tonto not only must deal with Cavendish and his gang of outlaws but must get to the bottom of a larger mystery that threatens to not only eradicate the Comanche people but to threaten the good citizens of the area. With his trusty and at times comical white horse, Silver, Reid and Tonto must learn to coexist with each other in a desperate race against time.
The film was an extremely enjoyable and fresh take on the characters that I really enjoyed. By giving the characters slightly more updated and relatable personas and traits yet retaining their core identities in history, Depp and Hammer made this a Western that was fun and cool and yet stayed true to the origins of the characters while making them more appealing to a modern audience. What really impressed me was Depp how he took what is often jokingly seen as a stereo typical Western sidekick and made him a very compelling yet diverse character. Yes, there is a lot of humor in the film but it is entertainingly at the expense of Reid, most often with Tonto getting some of the best lines in the film. I really appreciated the fact how it told a story without being overly politically correct or preaching, letting the characters and the action convey the message.
The action in the film is solid and the harrowing finale had people in the test screening cheering the action. Producer Jerry Bruckheimer and Director Gore Verbinski are to be commended for bringing a lively story that introduces the iconic characters to a new generation of fans. I hope that the film is able to draw fans and gives Disney’s a good return on its large investment as I would love to see Depp and Hammer back for future adventures. “The Lone Ranger” was the most pleasant surprise of the summer to date and the only summer film so far that I would pay to see again.
http://sknr.net/2013/07/03/the-lone-ranger/
Chris Sawin (602 KP) rated Jojo Rabbit (2019) in Movies
Oct 8, 2019
Roman Griffin Davis stars as Jojo Betzler in Taika Waititi’s black comedy Jojo Rabbit. Along with his second best friend Yorki (Archie Yates), Jojo is a part of a Nazi training camp for young boys and girls to become the men and women suited for Hitler supporting soldiers. Meanwhile, Jojo’s mom Rosie (Scarlett Johansson) is secretly hiding a young Jewish girl named Elsa (Thomasin McKenzie) within the walls of their home. Jojo, who is incredibly adamant about Hitler becoming his first best friend, has Hitler as an imaginary friend (portrayed by Taika Waititi) who shows up whenever Jojo seems to need a pep talk.
Based on the 2008 novel Caging Skies by Christine Leunens, Jojo Rabbit is a bonkers twist on one of the most devastating wars and tyrannical madmen in history. On the surface, the film is about a child attempting to become a Nazi because he views HItler as this great leader. He has to attempt to learn to kill, hate Jews, and essentially ignore all of his morals in order to just fit in with an army who believes they are the superior race. The intriguing aspect is that Waititi injects this unexpected tenderness and has concocted a film that has a heartbeat that is entirely too human and too genuine for any sort of project involving the likes of Adolf Hitler.
The Jojo/Hitler dynamic is an incredibly playful one. Hitler only seems to show up when something doesn’t go according to plan for Jojo or he needs some words of encouragement when times get tough. Hitler is a figment of Jojo’s imagination and is completely reactionary to Jojo’s world. If Jojo gets scared, Hitler shows up to remind him why he’s risking his own self comfort. While Waititi is funny and awkwardly charming as Hitler, which is an odd thing to say in itself, don’t overlook Archie Yates. Roman Griffin Davis encapsulates this innocence that even Elsa describes as something along the lines of a ten year old playing dress up with his friends in order to join a club. But Yates often plays off of Davis humorously and amusingly and will likely be forgotten about by some by the time they leave the theater.
Seemingly tapping into his inspiration for Gentlemen Broncos, Sam Rockwell portrays Captain Klenzendorf - a former war veteran who lost an eye and is now forced to teach children how to be soldiers. He has this strange tension on the verge of romance thing going on with his right hand man Finkel (Alfie Allen) and has extravagant taste with intricate ideas for his new uniform. Rockwell and Allen are hilarious and outshine Rebel Wilson’s Fräulein Rahm who never seems to serve much purpose before or after her line about, “having 18 kids for Germany.”
The sweet nature of Jojo Rabbit is expanded upon with the mother/son relationship between Rosie and Jojo. They have completely different viewpoints of a world on the verge of total annihilation where Jojo is slowly nudged into his mother’s mindset. It’s not so much a brainwashing as it is Jojo coming to terms with how he feels about people. Jojo Rabbit defines who we all are on the inside and simply explores the path anyone with an everyday beating heart (not rooted by a tiny mustache) would travel down over the course of their youth.
It’s kind of extraordinary that Jojo Rabbit has been released during a time when Fox Searchlight Pictures is owned by Walt Disney Studios Motion Pictures where a guy directing two of the biggest Thor movies did a side project where he plays Hitler and never had to attempt to keep that a secret. Waititi puts Jojo Betzler through the ringer by blowing him up repeatedly and throwing him down a flight of stairs all while being bullied and pushed around the entire time. But dammit if Jojo Rabbit isn’t one of the most heartfelt and imaginative fairy tales of the year.
This is a film where storytelling, embellishing and elongating false reputations, and glorifying urban myths is the driving force of entertainment. Underneath its layers of SS uniforms, dangerous pistols, and knives you should never leave home without, Jojo Rabbit is a touching film about human compassion with an intimacy that is absolutely unparalleled. Categorized somewhere between Wes Anderson’s Moonrise Kingdom and an imaginative concept that is an obvious homage to Calvin and Hobbes, love feels like it’s the only thing spreading across the world more powerful than war and Jojo Rabbit is more than happy to hype you up and throw you in love’s way without remorse.
Based on the 2008 novel Caging Skies by Christine Leunens, Jojo Rabbit is a bonkers twist on one of the most devastating wars and tyrannical madmen in history. On the surface, the film is about a child attempting to become a Nazi because he views HItler as this great leader. He has to attempt to learn to kill, hate Jews, and essentially ignore all of his morals in order to just fit in with an army who believes they are the superior race. The intriguing aspect is that Waititi injects this unexpected tenderness and has concocted a film that has a heartbeat that is entirely too human and too genuine for any sort of project involving the likes of Adolf Hitler.
The Jojo/Hitler dynamic is an incredibly playful one. Hitler only seems to show up when something doesn’t go according to plan for Jojo or he needs some words of encouragement when times get tough. Hitler is a figment of Jojo’s imagination and is completely reactionary to Jojo’s world. If Jojo gets scared, Hitler shows up to remind him why he’s risking his own self comfort. While Waititi is funny and awkwardly charming as Hitler, which is an odd thing to say in itself, don’t overlook Archie Yates. Roman Griffin Davis encapsulates this innocence that even Elsa describes as something along the lines of a ten year old playing dress up with his friends in order to join a club. But Yates often plays off of Davis humorously and amusingly and will likely be forgotten about by some by the time they leave the theater.
Seemingly tapping into his inspiration for Gentlemen Broncos, Sam Rockwell portrays Captain Klenzendorf - a former war veteran who lost an eye and is now forced to teach children how to be soldiers. He has this strange tension on the verge of romance thing going on with his right hand man Finkel (Alfie Allen) and has extravagant taste with intricate ideas for his new uniform. Rockwell and Allen are hilarious and outshine Rebel Wilson’s Fräulein Rahm who never seems to serve much purpose before or after her line about, “having 18 kids for Germany.”
The sweet nature of Jojo Rabbit is expanded upon with the mother/son relationship between Rosie and Jojo. They have completely different viewpoints of a world on the verge of total annihilation where Jojo is slowly nudged into his mother’s mindset. It’s not so much a brainwashing as it is Jojo coming to terms with how he feels about people. Jojo Rabbit defines who we all are on the inside and simply explores the path anyone with an everyday beating heart (not rooted by a tiny mustache) would travel down over the course of their youth.
It’s kind of extraordinary that Jojo Rabbit has been released during a time when Fox Searchlight Pictures is owned by Walt Disney Studios Motion Pictures where a guy directing two of the biggest Thor movies did a side project where he plays Hitler and never had to attempt to keep that a secret. Waititi puts Jojo Betzler through the ringer by blowing him up repeatedly and throwing him down a flight of stairs all while being bullied and pushed around the entire time. But dammit if Jojo Rabbit isn’t one of the most heartfelt and imaginative fairy tales of the year.
This is a film where storytelling, embellishing and elongating false reputations, and glorifying urban myths is the driving force of entertainment. Underneath its layers of SS uniforms, dangerous pistols, and knives you should never leave home without, Jojo Rabbit is a touching film about human compassion with an intimacy that is absolutely unparalleled. Categorized somewhere between Wes Anderson’s Moonrise Kingdom and an imaginative concept that is an obvious homage to Calvin and Hobbes, love feels like it’s the only thing spreading across the world more powerful than war and Jojo Rabbit is more than happy to hype you up and throw you in love’s way without remorse.
Daniel Boyd (1066 KP) rated Hitman in Video Games
Oct 19, 2017 (Updated Oct 19, 2017)
Solid mechanics. (1 more)
Allows for player experimentation.
Story is garbage. (1 more)
Lack of cohesion.
Episodic Bloodshed
Before diving in, I feel like I should preface this review by pointing out that although this Hitman game was released episodically over the course of eight months, I bought the entire season digitally and played through all 6 levels consecutively. The main reason being; I am a big fan of the Hitman series, but wasn’t onboard with the stunted release schedule trend that this game was adhering to.
You can look at this game in two different ways. If you accept it as an adaption of the Hitman games that have preceded it, presented in a new format type for a new audience, then it’s great and it totally achieves what it set out to do. If like me, you were hoping for something more like the PS2 era games in the series, you will most likely be disappointed. Whether you love or loathe this new way that Hitman is being presented to us, I think it’s fair to say that it is certainly different to what we are used to.
At this point, after playing through the entire game over the last month or so, I have learned to accept it for what it is and came to the conclusion that it’s not the Hitman I remember from my preteen days and that’s okay. It is a different take on the series’ traditional underlying themes and mechanics, updated for a modern audience and even as a die hard, old school fan of the franchise, I can appreciate that.
My favourite thing about this game is that it allows you, as the player, to decide on the level of respect the game treats you with. What I mean by that is, if you have never touched a Hitman game, or even a stealth game before, this is a fantastic starting point. If you are looking for a my-first-premeditated-murder-simulator experience, this is the best recommendation I can think of. Just buy the entire season, boot up the game, play through each stage in order and on normal difficulty and follow the step by step prompts to take down each target. If you play this way, the game ends up functioning as a Wiki-how for any of the past games in the series and can even be used to train you to be better at stealth games in general. However, if you consider yourself a more of a hardcore, matter-of-fact assassin and want the most immersive and unencumbered version of the experience, you can totally have that also.
I know that it isn’t a popular opinion, but I enjoyed my time with Absolution, (the previous entry in the franchise,) however I agree with the overall belief that that game didn’t know what it wanted to be. This latest Hitman game knows exactly what it wants to be and executes what it sets out to do beautifully. Even if you aren’t a fan of the new way this game plays out, it is irrefutable to say that it doesn’t confidently accomplish its intention.
In addition, the technical elements of the game are fairly solid also. The gameplay is precise but fun, the gameplay graphics are pretty nice to look at and the cut-scene graphics are almost photorealistic. The level design functions well to compliment the tasks that you are assigned meaning, the use of lighting and strategic placement of weapons and items etc doesn’t seem too out of place. I experienced some cosmetic glitches and clipping during my time with the game, but never anything game-breaking. The only technical issue that severely hindered my experience was the online connectivity, or lack thereof. I can recall multiple times where I was in the middle of choosing my custom loadout before endeavouring on my next mission, only to be kicked out of the menu halfway through and told that connectivity to the server had been lost. This grew tedious after around the tenth time it happened and more than once caused me to put the controller down and stop playing for the night as multiple attempts to re-establish a connection were in vain.
Lastly, the story is unfortunately unremarkable; it is just a heartless, tacked on excuse for you to move from one setting to the next, but it functions as a justification for 47 to travel to the various locations where the missions take place. The only other downside to this experience was the feel of the game. This criticism is hard to put into words, but in the six missions; the process going in and out of each location as smoothly as possible, coupled with the focus on gameplay mechanics and the lack of cohesiveness to the story makes for a disjointed experience that I don’t think will stay with me over a significant amount of time other than thinking back and saying, “that stealth game had some really well implemented mechanics.” I don’t think that I will ever feel any real nostalgia for this game, nor will it stand out in my mind for anything other than its technical elements. Although the locations are vast and the opportunities the player can take advantage of are numerous, the game feels brief and somewhat unfinished once you complete it. You really get the feeling of this being part of an ongoing series, rather than a solid standalone game. The lack of any definitive beginning, middle and end sections to the game makes it feel rather unsatisfying once you reach the climax and causes the game overall to be more of a mesh of various missions clumsily thrown together, rather than a progressive chapter it 47’s career. The game I played immediately before Hitman, was Nier: Automata and that game managed to have both solid mechanics and some heart within it too. I know that 47 is supposed to be a cold, calculated, heartless killer, but that doesn’t mean that the games he stars in have to be heartless as well.
Overall, this is a solid stealth game and there is a lot of fun to be had here. Just know going in, if you are a long time Hitman fan, some things are going to be different. That doesn’t mean they will necessarily be bad, but you will certainly see a new spin being put on the tried and tested mechanics of past game in the franchise. If this is your first stealth game, then I would say that there is no better introduction into the genre, especially if you use the Opportunities menu. Unfortunately though, it does seem more like a variation of well made parts, rather than a solid, cohesive whole.
You can look at this game in two different ways. If you accept it as an adaption of the Hitman games that have preceded it, presented in a new format type for a new audience, then it’s great and it totally achieves what it set out to do. If like me, you were hoping for something more like the PS2 era games in the series, you will most likely be disappointed. Whether you love or loathe this new way that Hitman is being presented to us, I think it’s fair to say that it is certainly different to what we are used to.
At this point, after playing through the entire game over the last month or so, I have learned to accept it for what it is and came to the conclusion that it’s not the Hitman I remember from my preteen days and that’s okay. It is a different take on the series’ traditional underlying themes and mechanics, updated for a modern audience and even as a die hard, old school fan of the franchise, I can appreciate that.
My favourite thing about this game is that it allows you, as the player, to decide on the level of respect the game treats you with. What I mean by that is, if you have never touched a Hitman game, or even a stealth game before, this is a fantastic starting point. If you are looking for a my-first-premeditated-murder-simulator experience, this is the best recommendation I can think of. Just buy the entire season, boot up the game, play through each stage in order and on normal difficulty and follow the step by step prompts to take down each target. If you play this way, the game ends up functioning as a Wiki-how for any of the past games in the series and can even be used to train you to be better at stealth games in general. However, if you consider yourself a more of a hardcore, matter-of-fact assassin and want the most immersive and unencumbered version of the experience, you can totally have that also.
I know that it isn’t a popular opinion, but I enjoyed my time with Absolution, (the previous entry in the franchise,) however I agree with the overall belief that that game didn’t know what it wanted to be. This latest Hitman game knows exactly what it wants to be and executes what it sets out to do beautifully. Even if you aren’t a fan of the new way this game plays out, it is irrefutable to say that it doesn’t confidently accomplish its intention.
In addition, the technical elements of the game are fairly solid also. The gameplay is precise but fun, the gameplay graphics are pretty nice to look at and the cut-scene graphics are almost photorealistic. The level design functions well to compliment the tasks that you are assigned meaning, the use of lighting and strategic placement of weapons and items etc doesn’t seem too out of place. I experienced some cosmetic glitches and clipping during my time with the game, but never anything game-breaking. The only technical issue that severely hindered my experience was the online connectivity, or lack thereof. I can recall multiple times where I was in the middle of choosing my custom loadout before endeavouring on my next mission, only to be kicked out of the menu halfway through and told that connectivity to the server had been lost. This grew tedious after around the tenth time it happened and more than once caused me to put the controller down and stop playing for the night as multiple attempts to re-establish a connection were in vain.
Lastly, the story is unfortunately unremarkable; it is just a heartless, tacked on excuse for you to move from one setting to the next, but it functions as a justification for 47 to travel to the various locations where the missions take place. The only other downside to this experience was the feel of the game. This criticism is hard to put into words, but in the six missions; the process going in and out of each location as smoothly as possible, coupled with the focus on gameplay mechanics and the lack of cohesiveness to the story makes for a disjointed experience that I don’t think will stay with me over a significant amount of time other than thinking back and saying, “that stealth game had some really well implemented mechanics.” I don’t think that I will ever feel any real nostalgia for this game, nor will it stand out in my mind for anything other than its technical elements. Although the locations are vast and the opportunities the player can take advantage of are numerous, the game feels brief and somewhat unfinished once you complete it. You really get the feeling of this being part of an ongoing series, rather than a solid standalone game. The lack of any definitive beginning, middle and end sections to the game makes it feel rather unsatisfying once you reach the climax and causes the game overall to be more of a mesh of various missions clumsily thrown together, rather than a progressive chapter it 47’s career. The game I played immediately before Hitman, was Nier: Automata and that game managed to have both solid mechanics and some heart within it too. I know that 47 is supposed to be a cold, calculated, heartless killer, but that doesn’t mean that the games he stars in have to be heartless as well.
Overall, this is a solid stealth game and there is a lot of fun to be had here. Just know going in, if you are a long time Hitman fan, some things are going to be different. That doesn’t mean they will necessarily be bad, but you will certainly see a new spin being put on the tried and tested mechanics of past game in the franchise. If this is your first stealth game, then I would say that there is no better introduction into the genre, especially if you use the Opportunities menu. Unfortunately though, it does seem more like a variation of well made parts, rather than a solid, cohesive whole.
Hazel (1853 KP) rated Touching the Rock: An Experience of Blindness (Notes on Blindness Film Tie-in) in Books
May 23, 2017
Eye-opener (if you pardon the pun)
I received this book for free through Goodreads First Reads.
It is not often a blind man writes a book, and “write” is a word used due to the lack of a better. John M. Hull gradually lost his sight, registering as blind in 1980, a couple of days before the birth of his son. Although anticipating the event, John struggled to come to terms with his new circumstances and adjust to a new way of living. From 1983 through to 1985, John recorded his thoughts on tape, in diary form, as a way to ascertain and understand his predicament. Originally titled Touching the Rock (1990), John’s book has been republished as Notes on Blindness after the release of the film of the same name.
Initially, John made recordings every day, dictating the everyday occurrences he encountered. Amazingly, despite his disability, John was able to continue as a university lecturer and delve deeper into the world of theology. The way John thinks things through as he speaks reflects his academic abilities. Although he may have despaired at the thoughts of not being able to see his children, he had a fairly positive outlook on life.
John’s thought capacity and religious ideology are evident in his assemblage of diary entries. As a blind person, he learns to see the world in an alternative way, and often feels closer to God as a result. Through these new experiences, John begins to see the light despite the darkness.
The metaphorical descriptions of blindness help the reader to understand the horror and difficulties not being able to see visually provokes. This is heightened by John’s recordings of the bad dreams he often suffers, in which he is able to see. His fixations on these dreams are assumedly a fascination with visual imagery, which he does not have access to in his waking life.
It is hard not feel sorry for John as he reports the conversations he has with his young children. The effort to communicate and play with them is far greater than a seeing parent. Remarkably, as John begins to adjust to his new lifestyle, his children take the situation in their stride.
Notes on Blindness is also an educational narrative for those without sight problems. John explains the things other people, in attempts to be helpful, do that result in making things far more confusing for John as he tries to navigate his way from one place to another. Despite what most think, blind people are fairly good at walking routes they are familiar with, and, with the help of a stick, can safely travel through new areas. Once people start shouting instructions, it is difficult to pay attention to the location and listen to everyone else at the same time.
John’s voice is extremely articulate, and his thoughts profound, which may suggest heavy editing when compiling the recordings into written form. However, as he is an academician, his eloquence of speech does not feel forced or faked.
Notes on Blindness remains the same as the original publication but with the added inclusion of an introduction by Cathy Rentzenbrink, and an epilogue by his wife Marilyn, written in 2016, a year after his death. These, the latter in particular, provide an insight into how John’s blindness affected those around him and emphasises what a truly remarkable man he was.
Of the many memoirs available on bookshelves today, Notes on Blindness is a truly unique publication. It is not telling a story, or recounting a well-lived life, but gives great insight into the world of the blind. As John’s thoughts were not originally recorded with intention of being available to everyone, they are all the more personal and honest, provoking emotion and providing the reader with a new way of seeing. It is a book that will stay with you for a very long time.
It is not often a blind man writes a book, and “write” is a word used due to the lack of a better. John M. Hull gradually lost his sight, registering as blind in 1980, a couple of days before the birth of his son. Although anticipating the event, John struggled to come to terms with his new circumstances and adjust to a new way of living. From 1983 through to 1985, John recorded his thoughts on tape, in diary form, as a way to ascertain and understand his predicament. Originally titled Touching the Rock (1990), John’s book has been republished as Notes on Blindness after the release of the film of the same name.
Initially, John made recordings every day, dictating the everyday occurrences he encountered. Amazingly, despite his disability, John was able to continue as a university lecturer and delve deeper into the world of theology. The way John thinks things through as he speaks reflects his academic abilities. Although he may have despaired at the thoughts of not being able to see his children, he had a fairly positive outlook on life.
John’s thought capacity and religious ideology are evident in his assemblage of diary entries. As a blind person, he learns to see the world in an alternative way, and often feels closer to God as a result. Through these new experiences, John begins to see the light despite the darkness.
The metaphorical descriptions of blindness help the reader to understand the horror and difficulties not being able to see visually provokes. This is heightened by John’s recordings of the bad dreams he often suffers, in which he is able to see. His fixations on these dreams are assumedly a fascination with visual imagery, which he does not have access to in his waking life.
It is hard not feel sorry for John as he reports the conversations he has with his young children. The effort to communicate and play with them is far greater than a seeing parent. Remarkably, as John begins to adjust to his new lifestyle, his children take the situation in their stride.
Notes on Blindness is also an educational narrative for those without sight problems. John explains the things other people, in attempts to be helpful, do that result in making things far more confusing for John as he tries to navigate his way from one place to another. Despite what most think, blind people are fairly good at walking routes they are familiar with, and, with the help of a stick, can safely travel through new areas. Once people start shouting instructions, it is difficult to pay attention to the location and listen to everyone else at the same time.
John’s voice is extremely articulate, and his thoughts profound, which may suggest heavy editing when compiling the recordings into written form. However, as he is an academician, his eloquence of speech does not feel forced or faked.
Notes on Blindness remains the same as the original publication but with the added inclusion of an introduction by Cathy Rentzenbrink, and an epilogue by his wife Marilyn, written in 2016, a year after his death. These, the latter in particular, provide an insight into how John’s blindness affected those around him and emphasises what a truly remarkable man he was.
Of the many memoirs available on bookshelves today, Notes on Blindness is a truly unique publication. It is not telling a story, or recounting a well-lived life, but gives great insight into the world of the blind. As John’s thoughts were not originally recorded with intention of being available to everyone, they are all the more personal and honest, provoking emotion and providing the reader with a new way of seeing. It is a book that will stay with you for a very long time.
BankofMarquis (1832 KP) rated First Man (2018) in Movies
Oct 13, 2018
GREAT, Visceral Space Scenes - Boring, Soap-Opera-ish Earth Scenes
Get to the largest screen you can find with the best sound system and check out FIRST MAN. The visceral spectacle of space travel is expertly captured and needs to be seen on the BIG screen while your chair vibrates from the sound. You, the audience, fwill eel like you are in the spaceship with Neil Armstrong on his way to the moon.
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)