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Kirk Bage (1775 KP) rated Black Mirror - Season 1 in TV
Mar 3, 2020
The National Anthem - 7.5
Yes, it’s the one that got it all started; the one with the Prime Minister and the pig. A very clever, if repulsive, episode that explores the power of media and the notion that men in power will do anything to protect their image. As the maiden voyage of Black Mirror, we find that the writing, acting and production values are very strong. There is also a nice multi-layering on display that allows you to debate what this morality tale is actually all about.
Fifteen Million Merits - 7
Before Get Out made him a star, Daniel Kaluuya shows a lot of promise in this pure satire on riding the gravy train and the fast fix provided by reality shows and the dangling carrot of fame and fortune. The rich have their penthouses while the rest of us exist in a hamster wheel of repetition and unattainable dreams. Even the seed of anger and rebellion becomes the focus of “entertainment” in an amusing, but slightly weaker ending than most.
The Entire History of You - 9
A very strong idea, beautifully / horrifically realised, in one of my personal favourites to date. Implant technology allows us to record every moment of our waking lives and replay them through our own eyes or on a screen. The benefits of security, lost keys and legal issues are explored, before the episode descends into a personal nightmare as a brilliant Toby Kebbell begins to suspect his wife, future Dr. Who Jodie Whittaker, of having an affair; proceding then to be obsessed by the minute details of both their recorded “memories”. An exploration of paranoia and close relationships, whilst questioning the morality of privacy, and the role being able to lie to a loved one might have as a positive, not a negative. The genius of it is watching Kebbell lose his mind completely whilst never knowing until the end if his doubts have any validity at all. A technology it is terrifyingly possible to imagine as a reality – and a solution that exists with mobile phones and social media already: you can always opt out, even if that is painful.
Yes, it’s the one that got it all started; the one with the Prime Minister and the pig. A very clever, if repulsive, episode that explores the power of media and the notion that men in power will do anything to protect their image. As the maiden voyage of Black Mirror, we find that the writing, acting and production values are very strong. There is also a nice multi-layering on display that allows you to debate what this morality tale is actually all about.
Fifteen Million Merits - 7
Before Get Out made him a star, Daniel Kaluuya shows a lot of promise in this pure satire on riding the gravy train and the fast fix provided by reality shows and the dangling carrot of fame and fortune. The rich have their penthouses while the rest of us exist in a hamster wheel of repetition and unattainable dreams. Even the seed of anger and rebellion becomes the focus of “entertainment” in an amusing, but slightly weaker ending than most.
The Entire History of You - 9
A very strong idea, beautifully / horrifically realised, in one of my personal favourites to date. Implant technology allows us to record every moment of our waking lives and replay them through our own eyes or on a screen. The benefits of security, lost keys and legal issues are explored, before the episode descends into a personal nightmare as a brilliant Toby Kebbell begins to suspect his wife, future Dr. Who Jodie Whittaker, of having an affair; proceding then to be obsessed by the minute details of both their recorded “memories”. An exploration of paranoia and close relationships, whilst questioning the morality of privacy, and the role being able to lie to a loved one might have as a positive, not a negative. The genius of it is watching Kebbell lose his mind completely whilst never knowing until the end if his doubts have any validity at all. A technology it is terrifyingly possible to imagine as a reality – and a solution that exists with mobile phones and social media already: you can always opt out, even if that is painful.
Farthest Field: An Indian Story of the Second World War
Book
Described as 'a masterpiece' by critics, this remarkable book tells the story of war through the...
Illeana Douglas recommended Vagabond (1985) in Movies (curated)
BookInspector (124 KP) rated The Burning Girls in Books
Jan 26, 2021
The protagonist in this book is Jack, a female vicar, that has been sent to a little village to take over the church that has been vacant. Her daughter Flo is a teenager that had to change her life from Nottingham to Chapel Croft. I really loved the brilliant selection of characters. They are all mysterious, intriguing and different. I thoroughly enjoyed Jacks thoughts about being a priest, the church’s role and religion in general. It was very modern and stigma defining. I really liked Flo as well, she seems like a very smart young lady, full of curiosity and teenage rebellion. 🙂
Like always, the narrative is creepy, mysterious and very well planned out. There are multiple stories running through this book. This book is told from multiple perspectives, and I absolutely adored that. Jack’s perspective investigates a story of two young ladies that disappeared thirty years ago and a mysterious suicide of the previous vicar. And Flo’s perspective shares very creepy encounters with local youth. The whole book is covered in a mysterious shroud, suspense is seeping through the pages, and the story simply had me absorbed. The topics discussed in this book are religion, evil youth, parenting issues, over the top religiousness, church work, vicar’s life, tight community nuances, murder and many more.
The writing style of this book is impeccable. C.J. Tudor’s writing is evolving with every single book. The setting and the mood of this book is perfect for horror, and the mystery just drives suspense through this novel. The chapters are pretty short, so it is a fast and gripping book. The culmination and the ending are brilliant, and I loved how the book was rounded up. I have to warn the reader, that this book has murders, pretty gross stories, burning people and psychopaths.
So, to conclude, this was my first book of 2021 and is going straight to my top 10 of this year. I loved everything about this novel, it has very unique and complex characters as well as an amazingly delivered plot full of twists, intriguing stories and mystery. I strongly recommend to anyone who loves Stephen King or a good mystery.
Like always, the narrative is creepy, mysterious and very well planned out. There are multiple stories running through this book. This book is told from multiple perspectives, and I absolutely adored that. Jack’s perspective investigates a story of two young ladies that disappeared thirty years ago and a mysterious suicide of the previous vicar. And Flo’s perspective shares very creepy encounters with local youth. The whole book is covered in a mysterious shroud, suspense is seeping through the pages, and the story simply had me absorbed. The topics discussed in this book are religion, evil youth, parenting issues, over the top religiousness, church work, vicar’s life, tight community nuances, murder and many more.
The writing style of this book is impeccable. C.J. Tudor’s writing is evolving with every single book. The setting and the mood of this book is perfect for horror, and the mystery just drives suspense through this novel. The chapters are pretty short, so it is a fast and gripping book. The culmination and the ending are brilliant, and I loved how the book was rounded up. I have to warn the reader, that this book has murders, pretty gross stories, burning people and psychopaths.
So, to conclude, this was my first book of 2021 and is going straight to my top 10 of this year. I loved everything about this novel, it has very unique and complex characters as well as an amazingly delivered plot full of twists, intriguing stories and mystery. I strongly recommend to anyone who loves Stephen King or a good mystery.
Ross (3282 KP) rated Legacy of Ash in Books
Dec 21, 2020
Epic but too lengthy
A very ambitious debut novel, epic in scope, cast of characters and plot. However, I found myself struggling to pick it up too often.
The book takes place in an empire with far-from-happy constituent parts and angry neighbours. The heirs of the traitorous Southweald "phoenix" are held captive as figureheads warning off any thoughts of rebellion. Meanwhile, a cliched corrupt council tries to keep the empire safe from impending invasion.
The book is filled with interesting magical creatures and abilities, with a demon, witches, crow-themed goth assassins and ancient spirits. These were at the fore nowhere near often enough, treated as curses and cast aside in favour of political plotting and old fashioned battle.
The first third of the book was awesome: learning about the richness of the world, its history, politics and magic. It really was set up to be an epic story of political intrigue, deception, plotting and underhand nastiness.
Sadly, this all lead to a battle sequence that lasted far too long. It was really like Joe Abercrombie had taken one of the First Law books and shoved The Heroes into the middle of it. I really struggled to get past this long, fairly boring conflict.
The second half of the book then calms down and focuses once again before taking a massive left-turn and changing to something very different.
As with many books of this size, the cast was massive and a number of characters not distinct enough to remember by name. And so many had such promising abilities to offer but were largely absent when they would have been so useful. It was like having a superstar in an amateur dramatic society and leaving them out of most of the script. Having said that, I once saw a pantomime with David Van Day in the cast and it was in everyone's best interests that he was largely absent.
The book finished well, but it was an 800-page book that read like a 1200-page one, taking me 5 weeks to read.
The book takes place in an empire with far-from-happy constituent parts and angry neighbours. The heirs of the traitorous Southweald "phoenix" are held captive as figureheads warning off any thoughts of rebellion. Meanwhile, a cliched corrupt council tries to keep the empire safe from impending invasion.
The book is filled with interesting magical creatures and abilities, with a demon, witches, crow-themed goth assassins and ancient spirits. These were at the fore nowhere near often enough, treated as curses and cast aside in favour of political plotting and old fashioned battle.
The first third of the book was awesome: learning about the richness of the world, its history, politics and magic. It really was set up to be an epic story of political intrigue, deception, plotting and underhand nastiness.
Sadly, this all lead to a battle sequence that lasted far too long. It was really like Joe Abercrombie had taken one of the First Law books and shoved The Heroes into the middle of it. I really struggled to get past this long, fairly boring conflict.
The second half of the book then calms down and focuses once again before taking a massive left-turn and changing to something very different.
As with many books of this size, the cast was massive and a number of characters not distinct enough to remember by name. And so many had such promising abilities to offer but were largely absent when they would have been so useful. It was like having a superstar in an amateur dramatic society and leaving them out of most of the script. Having said that, I once saw a pantomime with David Van Day in the cast and it was in everyone's best interests that he was largely absent.
The book finished well, but it was an 800-page book that read like a 1200-page one, taking me 5 weeks to read.
RəX Regent (349 KP) rated Solo: A Star Wars Story (2018) in Movies
Feb 18, 2019
The Star Wars Story that nobody asked for, but was is a story worth telling?
In short, NO.
Where to start? Indeed, where to start with a background prequel focusing on one of the most iconic Star Wars characters ever, taking the ageing Harrison Ford’s characters to, well not so far beyond the age that we first met him back in 1977.
Recast with actor who brings very little Ford with him, apart from a few well practice smiles and other expressions here and there, this is a reinterpretation of the character, in this case as a naive and wimpy version, maybe even soft, is not the part for Alden Ehrenreich.
The Character arch of Han Solo in the original trilogy was his redemption from a selfish, self-assured space pirate to a man who could recognise and fight for a cause bigger than himself. But according this haphazard prequel, he was already a big softy before her learns the harsh realities of life, only he doesn’t, not really.
He just learns to be a little more cynical and to smirk his way through every situation with his lucky die and everything turns out okay for him. Ehrenrieich done not bring an ounce of the gravitas or charisma of Harrison Ford, as this film, which had to be almost entirely re-shot with Ron Howard taking the helm after The Lego Movie directing due Chris Miller and Phil Lord where unceremoniously fired after “not getting it”, apparently, shoe horns as much of the token events of Solo’s pre-rebellion life into its two and bit hour run time.
Ron Howard; A few hits and plenty of misses. Willow (1988) springs to mind. Not only was Willow Lucas’ attempt to begin and new fantasy trilogy after the Star Wars Saga was completed, it was micro directed by George Lucas as Ron Howard took the credit. And this has a lot of the hallmarks of Willow.
In short; A poor mans Star Wars. Hammy scripting and at times acting, the story is all over the place, with shallow characterisations, poor exposition, haphazard pacing and the action is actually quite hard to follow. Just please, give us ONE decent shot of the Millennium Falcon that we can keep up with and actually see, especially as it has been altered so much from the icon version that we all love. Maybe we’re getting bored of the same ship after 40 years? Maybe we all need to go out and by a new version?
Toyetic… anyone?
Instead everything of interest is speeding across the screen and the boring stuff is left to linger. And there was a level of boredom here. Incredibly predictable plotting, simply going through the motions of a no stakes story. But it does feel as if they shoehorned a larger narrative in there, with introduction in the final act of the rebellion and an old villain returns with a new legs, but by the time what should have been an earth shattering twist appeared, it wasn’t really interested, especially if you know the The Clone Wars or Rebels.
One major plus note though, Donald Glover aced Lando Calrissian, to such an extant that I wish this movie was actually called Lando: A Star War Story rather than Solo, because there’s no doubt that Glover brought so much more Billy Dee Williams and built on it, than Ehrenreich did for Ford’s.
As well as the subtle and well conceived plotting around Lando’s female droid, L3-37 (Phoebe Waller-Bridge) who may well be the ‘Old girl’ referred to by both Han and Lando during in the original trilogy when they speak to the Falcon, whilst shining a light on the deliberately ambiguous nature of droids in the Star Wars universe. In short; are they sentient or not? But this is not Star Trek so we do not really need an answer to that… do we?
Overall, I want to say that this was missed opportunity but in truth, it was not. It was waste of time. A story that did not need to be told with script that did not know what say. Clearly, they were aiming for a Guardians Of The Galaxy (2015), unaware that the secret of that surprise success was that it tapped in to the retro Star Wars vibe by NOT being Star Wars. And with little expectations.
Here they were playing with one of the biggest guns in modern film history and in my opinion, it blew up in there faces.
Where to start? Indeed, where to start with a background prequel focusing on one of the most iconic Star Wars characters ever, taking the ageing Harrison Ford’s characters to, well not so far beyond the age that we first met him back in 1977.
Recast with actor who brings very little Ford with him, apart from a few well practice smiles and other expressions here and there, this is a reinterpretation of the character, in this case as a naive and wimpy version, maybe even soft, is not the part for Alden Ehrenreich.
The Character arch of Han Solo in the original trilogy was his redemption from a selfish, self-assured space pirate to a man who could recognise and fight for a cause bigger than himself. But according this haphazard prequel, he was already a big softy before her learns the harsh realities of life, only he doesn’t, not really.
He just learns to be a little more cynical and to smirk his way through every situation with his lucky die and everything turns out okay for him. Ehrenrieich done not bring an ounce of the gravitas or charisma of Harrison Ford, as this film, which had to be almost entirely re-shot with Ron Howard taking the helm after The Lego Movie directing due Chris Miller and Phil Lord where unceremoniously fired after “not getting it”, apparently, shoe horns as much of the token events of Solo’s pre-rebellion life into its two and bit hour run time.
Ron Howard; A few hits and plenty of misses. Willow (1988) springs to mind. Not only was Willow Lucas’ attempt to begin and new fantasy trilogy after the Star Wars Saga was completed, it was micro directed by George Lucas as Ron Howard took the credit. And this has a lot of the hallmarks of Willow.
In short; A poor mans Star Wars. Hammy scripting and at times acting, the story is all over the place, with shallow characterisations, poor exposition, haphazard pacing and the action is actually quite hard to follow. Just please, give us ONE decent shot of the Millennium Falcon that we can keep up with and actually see, especially as it has been altered so much from the icon version that we all love. Maybe we’re getting bored of the same ship after 40 years? Maybe we all need to go out and by a new version?
Toyetic… anyone?
Instead everything of interest is speeding across the screen and the boring stuff is left to linger. And there was a level of boredom here. Incredibly predictable plotting, simply going through the motions of a no stakes story. But it does feel as if they shoehorned a larger narrative in there, with introduction in the final act of the rebellion and an old villain returns with a new legs, but by the time what should have been an earth shattering twist appeared, it wasn’t really interested, especially if you know the The Clone Wars or Rebels.
One major plus note though, Donald Glover aced Lando Calrissian, to such an extant that I wish this movie was actually called Lando: A Star War Story rather than Solo, because there’s no doubt that Glover brought so much more Billy Dee Williams and built on it, than Ehrenreich did for Ford’s.
As well as the subtle and well conceived plotting around Lando’s female droid, L3-37 (Phoebe Waller-Bridge) who may well be the ‘Old girl’ referred to by both Han and Lando during in the original trilogy when they speak to the Falcon, whilst shining a light on the deliberately ambiguous nature of droids in the Star Wars universe. In short; are they sentient or not? But this is not Star Trek so we do not really need an answer to that… do we?
Overall, I want to say that this was missed opportunity but in truth, it was not. It was waste of time. A story that did not need to be told with script that did not know what say. Clearly, they were aiming for a Guardians Of The Galaxy (2015), unaware that the secret of that surprise success was that it tapped in to the retro Star Wars vibe by NOT being Star Wars. And with little expectations.
Here they were playing with one of the biggest guns in modern film history and in my opinion, it blew up in there faces.
Ryan Hill (152 KP) rated The Last Samurai (2003) in Movies
Jun 23, 2019
" I will tell you, how he lived"
The honour and code of the samurai has always been enticing to a Western civilisation that is far removed from such customs, which perhaps makes The Last Samurai such an enticing, enigmatic film. Edward Zwick crafts quite an epic adventure rich in mythology & thematic resonance that while traditionally Hollywood in its construction still manages to exist a cut above many such movies of its ilk, a touch of class surrounding how the story of Captain Nathan Algren is put together, based as it is on several real life legendary American figures who played key roles in the Satsuma Rebellion in Japan during the late 19th century. This isn't a direct re-telling of those events but serves as a leaping off point to construct a tale about a stranger in a strange land, of a man haunted by fighting an unjust war who rediscovers his honour & place in the world through a dying culture. Zwick's film is slick, sweeping, beautifully shot and frequently involving, backed up by a strong performance by Tom Cruise in one of those roles that remind you just what a good actor he can be.
In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light. Cruise takes Algren on a traditional voyage of discovery, first pitted against the samurai code & eventually becoming consumed by it, consumed by the similarity of the way of the warrior between both cultures - and Ken Watanabe's dignified samurai 'rebel' Katsumoto learns from him, as well as the other way around, with Cruise remaining stoic & only getting flashes of a chance to display the usual Cruise charm, but that's OK - Algren isn't the kind of character to benefit from that, Cruise's natural magnetism is enough here. Wit is provided thankfully through, albeit briefly, Billy Connolly as a tough old Irish veteran & chiefly Timothy Spall as our portly 'narrator' of sorts, who serves to help mythologise Algren & the legend itself. Zwick is most concerned with that, you see, the idea of legends and how men become them, exploring that concept alongside digging into the cultural rituals and practises of a changing Japan.
Algren's story is placed at a time when the old ways of Japan were shifting, under the pressures of global politics & business; the Emperor here is a naive young man, sitting on an empty throne, looking to Watanabe for validation as his advisor's push to quash a rebellion fighting to preserve the old ways, preserve Japanese interests as America knocks on the door. That's why Cruise's role here is so interesting, his character learning of the samurai code & helping those around him remember their history, and Zwick explores well the concept of national identity alongside personal ideas of myth, legend & destiny. It all boils together in a careful script, never overblown, which neatly develops the relationships involved & helps you fully believe Algren's transformation into the eponymous 'last samurai'. Along the way, Zwick doesn't forget theatrics - staging plenty of well staged & intense fight scenes which utilise the strong Japanese production design, before building to a quite epic war climax with army pitted against army, with personal stakes cutting through it, backed up indeed by another superlative score by Hans Zimmer. It becomes more than just a historical swords & armour film, reaching deeper on several levels.
What could have been a slow paced, potentially ponderous movie is avoided well by Edward Zwick, who with The Last Samurai delivers one of the stronger historical adventure epics of recent years. Beautifully shot in many places, with some excellent cinematography & production standards, not to mention an impressive script well acted in particular by Tom Cruise & Ken Watanabe, Zwick creates a recognisably Hollywood picture but for once a movie that doesn't dumb down, doesn't pander and ultimately serves as an often involving, often damn well made story. Especially one to check out if you love the way of the samurai.
In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light. Cruise takes Algren on a traditional voyage of discovery, first pitted against the samurai code & eventually becoming consumed by it, consumed by the similarity of the way of the warrior between both cultures - and Ken Watanabe's dignified samurai 'rebel' Katsumoto learns from him, as well as the other way around, with Cruise remaining stoic & only getting flashes of a chance to display the usual Cruise charm, but that's OK - Algren isn't the kind of character to benefit from that, Cruise's natural magnetism is enough here. Wit is provided thankfully through, albeit briefly, Billy Connolly as a tough old Irish veteran & chiefly Timothy Spall as our portly 'narrator' of sorts, who serves to help mythologise Algren & the legend itself. Zwick is most concerned with that, you see, the idea of legends and how men become them, exploring that concept alongside digging into the cultural rituals and practises of a changing Japan.
Algren's story is placed at a time when the old ways of Japan were shifting, under the pressures of global politics & business; the Emperor here is a naive young man, sitting on an empty throne, looking to Watanabe for validation as his advisor's push to quash a rebellion fighting to preserve the old ways, preserve Japanese interests as America knocks on the door. That's why Cruise's role here is so interesting, his character learning of the samurai code & helping those around him remember their history, and Zwick explores well the concept of national identity alongside personal ideas of myth, legend & destiny. It all boils together in a careful script, never overblown, which neatly develops the relationships involved & helps you fully believe Algren's transformation into the eponymous 'last samurai'. Along the way, Zwick doesn't forget theatrics - staging plenty of well staged & intense fight scenes which utilise the strong Japanese production design, before building to a quite epic war climax with army pitted against army, with personal stakes cutting through it, backed up indeed by another superlative score by Hans Zimmer. It becomes more than just a historical swords & armour film, reaching deeper on several levels.
What could have been a slow paced, potentially ponderous movie is avoided well by Edward Zwick, who with The Last Samurai delivers one of the stronger historical adventure epics of recent years. Beautifully shot in many places, with some excellent cinematography & production standards, not to mention an impressive script well acted in particular by Tom Cruise & Ken Watanabe, Zwick creates a recognisably Hollywood picture but for once a movie that doesn't dumb down, doesn't pander and ultimately serves as an often involving, often damn well made story. Especially one to check out if you love the way of the samurai.
Gareth von Kallenbach (971 KP) rated the PC version of Zombie Army 4: Dead War in Video Games
Feb 11, 2020
With the success of the Zombie Army series of DLC as well as the Zombie Army Trilogy game; Rebellion has released the next chapter in the series with Zombie Army 4: Dead War. The game is set at the end of World War 2 where Hitler has unleashed evil Occult powers to create an unstoppable army of the dead.
The game opens with players playing either on their own or in a group of up to four players as the Rebellion is seeing a resurgence of the Zombie forces that have spread over Europe.
This time around players will have many more options at their disposal such as the ability to find Upgrade Kits that will allow them to upgrade their weapons with added power, enhanced magazines, and other features. As before players can use Sniper Rifles, Shotguns, Machines Guns, and Pistols. There is a nice variety of weapons and players will want to find and customize ones that best suit their style of play.
Another great new feature is the Heavy Weapons that can be used when a player defeats a Boss Zombie and they include a Heavy Machine Gun, Flamethrower, and Super Saw. There are some others as well such as a Rocket Launcher and Emplacement Machine Guns.
All this is needed as the hordes are endless and they come at players in unending waves as they attempt to complete mission objectives and make it to strategic points on a map.
There are scores of new creatures to battle beyond the traditional hordes and the vast variety and abilities of the enemies makes the game a challenge. This combined with the fact that ammunition, health packs, and explosives are in limited supply, players must find supply chests and recover them from enemies in the form of stomping enemies.
Zombie Army 4 also allows players to customize the look of their characters and enhance their abilities such as Stamina as they would the same way they upgrade weapons.
The various segments are broken down into four-part chapters and the names and visuals that go with them embark memories of the classic Horror Films of the 70s and 80s.
Players will be able to take a break from the action by locating Safe Rooms at the end of each chapter. This haven allows players a safe place to upgrade, heal, reload, and more before taking on the next chapter.
Another nice feature of the game is that players can now do Melee based eliminations of enemies as well as pick a custom option such as a Flaming Axe, Power Punch, etc. to clear the hordes. Should a player fall they are able to be revived by their fellow players or else they have to wait until the next Checkpoint to be revived.
The game has some really impressive graphics and great imagery as locales from Sewers, Docks, Zoos, Bunkers, and more are all depicted in full detail complete with Macabre and Gory Supernatural decor.
Zombie Army 4: Dead War is lots of fun to play and has all of the gory action that fans of the series will love. The addition of all the new enemies, weapons, customizations, and abilities greatly enhances the game as well as the replay value as players can select a skill level that works best for them.
Should players need a break from the traditional game and want to practice using the traps, explosives, and other techniques in the game, there is a Horde Mode where players can simply focus on taking down waves vs doing mission objectives.
While the series began as a DLC; Zombie Army 4: Dead War looks and plays like a completely new game from the ground up. The look and gameplay will be familiar to fans of the series but the multitude of enhancements and new features make this a game that players will want to play.
Some of the lines in the game did get a bit annoying as they repeated themselves often and in the heat of battle hearing the same thing over and over gets old fast. Another issue comes when players play as the same character and you hear the voice of your character saying that their ammo was low even though you just reloaded.
In the end; Zombie Army 4: Dead War is not only an engaging and fun game; it is the best game in the series.
4 stars out of 5
The game opens with players playing either on their own or in a group of up to four players as the Rebellion is seeing a resurgence of the Zombie forces that have spread over Europe.
This time around players will have many more options at their disposal such as the ability to find Upgrade Kits that will allow them to upgrade their weapons with added power, enhanced magazines, and other features. As before players can use Sniper Rifles, Shotguns, Machines Guns, and Pistols. There is a nice variety of weapons and players will want to find and customize ones that best suit their style of play.
Another great new feature is the Heavy Weapons that can be used when a player defeats a Boss Zombie and they include a Heavy Machine Gun, Flamethrower, and Super Saw. There are some others as well such as a Rocket Launcher and Emplacement Machine Guns.
All this is needed as the hordes are endless and they come at players in unending waves as they attempt to complete mission objectives and make it to strategic points on a map.
There are scores of new creatures to battle beyond the traditional hordes and the vast variety and abilities of the enemies makes the game a challenge. This combined with the fact that ammunition, health packs, and explosives are in limited supply, players must find supply chests and recover them from enemies in the form of stomping enemies.
Zombie Army 4 also allows players to customize the look of their characters and enhance their abilities such as Stamina as they would the same way they upgrade weapons.
The various segments are broken down into four-part chapters and the names and visuals that go with them embark memories of the classic Horror Films of the 70s and 80s.
Players will be able to take a break from the action by locating Safe Rooms at the end of each chapter. This haven allows players a safe place to upgrade, heal, reload, and more before taking on the next chapter.
Another nice feature of the game is that players can now do Melee based eliminations of enemies as well as pick a custom option such as a Flaming Axe, Power Punch, etc. to clear the hordes. Should a player fall they are able to be revived by their fellow players or else they have to wait until the next Checkpoint to be revived.
The game has some really impressive graphics and great imagery as locales from Sewers, Docks, Zoos, Bunkers, and more are all depicted in full detail complete with Macabre and Gory Supernatural decor.
Zombie Army 4: Dead War is lots of fun to play and has all of the gory action that fans of the series will love. The addition of all the new enemies, weapons, customizations, and abilities greatly enhances the game as well as the replay value as players can select a skill level that works best for them.
Should players need a break from the traditional game and want to practice using the traps, explosives, and other techniques in the game, there is a Horde Mode where players can simply focus on taking down waves vs doing mission objectives.
While the series began as a DLC; Zombie Army 4: Dead War looks and plays like a completely new game from the ground up. The look and gameplay will be familiar to fans of the series but the multitude of enhancements and new features make this a game that players will want to play.
Some of the lines in the game did get a bit annoying as they repeated themselves often and in the heat of battle hearing the same thing over and over gets old fast. Another issue comes when players play as the same character and you hear the voice of your character saying that their ammo was low even though you just reloaded.
In the end; Zombie Army 4: Dead War is not only an engaging and fun game; it is the best game in the series.
4 stars out of 5
Dr Dystopian (526 KP) rated Star Wars: Episode VIII - The Last Jedi (2017) in Movies
Jan 9, 2018 (Updated Jan 9, 2018)
Interactions between Rey and Kylo (2 more)
The special effects
The lightsaber battle against the praetorian guard
Poor storyline (2 more)
Completely irrelevant side story with Finn and Rose
Wasted main villain
Disappointing entry after a promising previous film
What hasn't been said about this film already?!
Having had high hopes for this based on a solid entry in episode VII this film simply didn't live up to the high expectations.
The special effects were, as normal, fantastic with the ship collision at light speed a major highlight. The interactions between Rey and Kylo and subsequent character development of the 2 is both interesting and welcomed and provides hope for episode IX. The scene with the 2 fighting side by side against the praetorian guard was also great to watch.
Aside from those parts the film felt like it lacked any real direction and the storyline is simply poor. With the film opening on a massive battle where the first order, once again, are made out to be utterly inept and farcically incompetent it seems as if the film wants to substitute substance for style.
Almost the entire film consists of the first order chasing the rebellion at sub light speed waiting for them to run out of fuel whilst we are given an utterly pointless side mission for Finn and newcomer Rose which does nothing to develop either character or the actual main storyline.
Luke, meanwhile, has become a hermit and whilst that in itself isn't an issue (after all so was Yoda) it is a disappointing change to the legends Luke who would have been a lot more interesting.
The princess leia bridge explosion scene was also very shortly done. Whilst it was a great development to show her with significant force abilities the special effects made it crying worthy and completely ruined it.
Then there is the bizarre decision to simply kill off Snoke in the most pathetic of ways. All the build up of what appears to be an exceptionally strong Darkside user and he is cut down far too easily. It will be interesting to see how episode IX addresses this as it was a very disappointing ending to the character.
All in all there were just too many awful decisions and I left the cinema feeling massively underwhelmed. Perhaps in time, especially after its sequel, maybe this will be a film looked back on as a perfect midfilm in the trilogy.
Having had high hopes for this based on a solid entry in episode VII this film simply didn't live up to the high expectations.
The special effects were, as normal, fantastic with the ship collision at light speed a major highlight. The interactions between Rey and Kylo and subsequent character development of the 2 is both interesting and welcomed and provides hope for episode IX. The scene with the 2 fighting side by side against the praetorian guard was also great to watch.
Aside from those parts the film felt like it lacked any real direction and the storyline is simply poor. With the film opening on a massive battle where the first order, once again, are made out to be utterly inept and farcically incompetent it seems as if the film wants to substitute substance for style.
Almost the entire film consists of the first order chasing the rebellion at sub light speed waiting for them to run out of fuel whilst we are given an utterly pointless side mission for Finn and newcomer Rose which does nothing to develop either character or the actual main storyline.
Luke, meanwhile, has become a hermit and whilst that in itself isn't an issue (after all so was Yoda) it is a disappointing change to the legends Luke who would have been a lot more interesting.
The princess leia bridge explosion scene was also very shortly done. Whilst it was a great development to show her with significant force abilities the special effects made it crying worthy and completely ruined it.
Then there is the bizarre decision to simply kill off Snoke in the most pathetic of ways. All the build up of what appears to be an exceptionally strong Darkside user and he is cut down far too easily. It will be interesting to see how episode IX addresses this as it was a very disappointing ending to the character.
All in all there were just too many awful decisions and I left the cinema feeling massively underwhelmed. Perhaps in time, especially after its sequel, maybe this will be a film looked back on as a perfect midfilm in the trilogy.
Acanthea Grimscythe (300 KP) rated The Jesus Man in Books
May 16, 2018
The Jesus Man by Keith Anthony Baird is a tough book for me to rate, if I’m being honest. It’s part of why, despite completing it last week, I’ve taken so long to write up my review. The book isn’t an easy read by any means, especially with its vast amounts of purple prose. It does, however, have a uniquely intriguing plot.
One of the major deciding factors for me when I read a book is its ability to make me feel emotion. I want a connection with the characters, even if it’s a seething hatred that I feel in the depths of my heart. With The Jesus Man, I felt loathing and disdain, but nothing beyond that. I felt disconnected, for the most part. The characters seemed to me as if they were in limbo between fully and halfway developed.
In regards to plot, Baird does an excellent job. As a horror fan, I end up reading a lot of apocalyptic books. Most of the time, the cause is a viral outbreak of zombies. It’s a cliché we deal with far too often and it’s been beaten to death time and time again. Baird goes an entirely new route, with the dredges of Hell returning to claim what should be theirs. Described as the Fallen, we know these creatures as the angels cast from Heaven in the wake of God’s love for mankind stoking rebellion among them. It’s an interesting take on the world’s post-nuclear was end and I feel that Baird did a wonderful job in this area of his book.
I do have to take a moment to appreciate one beautiful perk to Baird’s ornate writing style: his depiction of gory acts is absolutely stunning. I’m a sucker for splatterpunk, so this served as a nice treat for me. While his characters felt lacking to me (which I discovered was the author’s intent post-read), his vivid descriptions (even if heavy-handed) are breathtaking and nightmare invoking.
I’ve danced between a two and four for this book several times, so ultimately I’m going to go with a three. While I loved the concept, the difficulty of reading this book made it hard for me to enjoy.
I would like to thank the author for providing me with a copy of this book in exchange for an honest review.
One of the major deciding factors for me when I read a book is its ability to make me feel emotion. I want a connection with the characters, even if it’s a seething hatred that I feel in the depths of my heart. With The Jesus Man, I felt loathing and disdain, but nothing beyond that. I felt disconnected, for the most part. The characters seemed to me as if they were in limbo between fully and halfway developed.
In regards to plot, Baird does an excellent job. As a horror fan, I end up reading a lot of apocalyptic books. Most of the time, the cause is a viral outbreak of zombies. It’s a cliché we deal with far too often and it’s been beaten to death time and time again. Baird goes an entirely new route, with the dredges of Hell returning to claim what should be theirs. Described as the Fallen, we know these creatures as the angels cast from Heaven in the wake of God’s love for mankind stoking rebellion among them. It’s an interesting take on the world’s post-nuclear was end and I feel that Baird did a wonderful job in this area of his book.
I do have to take a moment to appreciate one beautiful perk to Baird’s ornate writing style: his depiction of gory acts is absolutely stunning. I’m a sucker for splatterpunk, so this served as a nice treat for me. While his characters felt lacking to me (which I discovered was the author’s intent post-read), his vivid descriptions (even if heavy-handed) are breathtaking and nightmare invoking.
I’ve danced between a two and four for this book several times, so ultimately I’m going to go with a three. While I loved the concept, the difficulty of reading this book made it hard for me to enjoy.
I would like to thank the author for providing me with a copy of this book in exchange for an honest review.