Forza Horizon 5: XBox Series X: Review in progress

Developed by Playground Games

Released by XBox Studios

Platform: XBox Series X

It's hard to understate how awesome this racing series is.

While it's been tied as an exclusive to the XBox consoles, it's single handedly been the one gaming series that's been worth investing time in in every iteration that's emerged.

It's not exactly overstating matters to say the Forza Horizon series is an essential purchase, but it's definitely not overstating matters to say the XBox Series X first appearance of the Forza Horizon is one title that anyone serious about racing games - or indeed anyone serious about having fun on a gaming console - needs to own.

In this latest, with its faux OTT opening that seems ripped from the Fast and Furious saga (cars falling from the skies from an opening cargo plane), it's off to Mexico you go for possibly the biggest, the most amped and the most technically beautiful game you're likely to play.

It doesn't veer too much away from the core formula of the Forza Horizon series - racing in all manners through streets or dirt racing, you'll head to some truly beautiful locations that shimmer with detail and which simmer with over 500 cars to collect. It's expansive open world racing - but not just one for purists. If you're a driver with a few co-ordination issues, the game rewards you for piling through shrubbery, slamming through carefully created fences or trashing someone's beautifully tended and planted field.

It starts on an ice mountain near a volcano, with snow and volcanic ash mingling in the skies, takes in hidden lakes and Mexican temples, and through jungles as well. But it also takes in turbulent weather conditions as well, from electrical storms to dust clouds - this is not a game which holds back from extremes and is all the better for it.

The playground that's been sketched out is gigantic - half the reason why this review is a review in progress (plus the online multiplayer can't really be tested within a reviews only period) - but every area is worth exploring, every car is worth hurtling around in and every set of challenges is there to be explored. There's a double dip mentality of some of the races - first you need to finish them and then you need to re-race them and win them again (though, this doesn't prevent you from heading into other parts of the game).

The game's set up is also worthy of note. Players can choose their sexes and also genders and pronouns. Racers can have prosthetic arms as well - though there is a slight feeling that none of this is anything more than a hint of inclusion rather than a full-on integration - as aside from occasional cut scenes, the customisation of your character charts no bearing on the basics of how you race or how you are perceived within the game. It's not entirely successful inclusiveness, but it is good to see at a basic level.

From the expected showcase races to the crazy events like having you hurtle over a ramp, there's much to do and much to suit whatever mood you're in. If you want a short game, Forza Horizon 5 rewards that with simple swift bursts of thrilling racing or stunts to carry out - or if you want more, there's the option to take part in Expeditions where a series of mini-quests lies within a very simple drive from A to B mechanic.

It befits Forza Horizon 5 to note that the racing is excellent - both in look and feel. 

This is, after all, a series that has technically excelled from the get go, and along with ray tracing on the XBox Series X, the game benefits from the biggest HD screen possible. Handling of cars is subtle and compellingly executed - racing is simply a blast.

There's just so much to do in Forza Horizon 5 and there's so much that's worthy of exploring and poring your time into. In a world where most of us are experiencing lockdown, the ability to just get in the car and drive through a virtual world is greatly appreciated - as a breezy blast of freedom, Forza Horizon 5 offers everything a great racing game should have - this is the complete package on the XBox, and it's an utterly essential one as well.

Films you need to see at the 2021 Whanau Marama New Zealand International Film Festival

Whilst Auckland may be bereft of cinema outings at the mighty Civic theatre and its partners for the New Zealand International Film Festival, there's still Christchurch and Wellington as well as other centres who'll enjoy the offerings from this year's festival.

Udo Kier in Swan Song

Here's some of the best films that you need to see at the 2021 Whanau Marama New Zealand International Film Festival.

SWAN SONG

Udo Kier stars as a former hairdresser coaxed out of his hospital bed for one last job in a maudlin and melancholy but ultimately uplifting drama.

STRAY

Elizabeth Lo's Stray centres on street dogs living in Turkey. Lest you write it off as a dog's revenge following the success of cats-infused tale Kedi, this doco is a little more than that. Capturing life at the edges of society, it transcends more than just its allegory.

MOTHERS OF THE REVOLUTION

Briar March's mix of doco and recreation pulls together a powerful portrait of the women who descended on Greenham common in the UK during the height of the Cold War and the fear of a nuclear holocaust. Equal parts engaging and appalling, March's Glenda Jackson-narrated piece is a salute to the power of one voice making a difference, before the chorus erupts.

THE POWER OF THE DOG

Jane Campion's portrait of anger and repression is already being touted as an Oscar contender - and New Zealand gets to see it on the big screen before its Netflix release in December. Starring Benedict Cumberbatch, Kirsten Dunst, Kodi Smit-McPhee, Thomasin McKenzie and Jesse Plemons

MANDIBLES

Possibly one of the more out there titles at this year's festival, Mandibles is the story of two simple-minded friends Jean-Gab and Manu who find a giant fly trapped in the boot of a car, and decide to train it in the hope of making a ton of cash. It's from the director of Rubber too, Quentin Dupieux, so that should tell you all you need to know. 

MARK HUNT: THE FIGHT OF HIS LIFE

MMA fighting may not be everyone's bag, and it's certainly not this reviewer's either, but Mark Hunt: The Fight of His Life focuses more on the New Zealand scrapper who ended up being a global star more by accident than design. With a frighteningly vulnerable subject, director Peter Brook Bell fashions a piece that may feel familiar to sports doco genre fans, but is also winningly available to non-sports lover.

SISTERS WITH TRANSISTORS

Filmmaker Lisa Rovner blends archival footage and interviews with female electronic musicians in this fascinating documentary, including Clara Rockmore, a Theremin virtuoso who achieved fame performing with orchestras in the 1930s; Delia Derbyshire, co-creator of the Doctor Who theme and mathematician; and Buchla modular analog synthesiser diva Suzanne Ciani, the first woman to score a major Hollywood film, alongside founding her own electronic music record label and inventing the New Age genre.

For more films playing at the 2021 Festival, please visit nziff.co.nz

NZIFF 2021 Film fest Q&A - Lula Cucchiara -  Fiona Clark, Unafraid

How's your 2021 been?

I guess a rollercoaster, probably like everyone else’s! We have had ups and downs, but I can’t complain, especially when I look at my home country and many other 3rd world countries, it really makes me realize how lucky we are here! 

Give us the elevator pitch for your film in 10 words.

Behind the lens of a photographer fearlessly documenting Aotearoa's subcultures

The one moment of your film that stands out

The way in which society revolted against Fiona's artwork that included her friends enjoying themselves and feeling free during a time of revolution. Fiona was pushed out of the art world, black listed for her work that was deemed to be immoral. I think this topic touches a lot of people as it truly is unbelievable for a lot of people to imagine that this would happen in the Aotearoa that exists today. 

The one moment of your film that you wish you could have changed

I can't think of a moment but I do wish that more of the beautiful people in Fiona's world at the time were still alive to see this film and to see how far we have come thanks to them living so bravely. While making the film I was often reminded of how incredibly fortunate I am to be living without fear for myself or my friends and family. It is because of their strength and courage that I have the freedom today. 

The one moment of your film that you think audiences will connect to

I think over all our audience will hopefully connect with Fiona's deep passion to protect mother nature. Now, information is readily available for us to be aware of how incredibly destructive the human race has been to the environment. I would hope that we are all trying to do what we can to help reduce our footprint on this earth, but Fiona’s devotion is very inspiring and hopefully this will allow our audience to reflect on what they can do more.  

The one moment of production during a Covid world that saw you enraged by the pandemic

It was Auckland where you would find fearless Queens gleefully posing for Elam student Fiona. It was Auckland where Fiona found photography as an escape from the arduous operations and exams following a life threatening car accident. And it was Auckland where her work was protested and condemned so much she was blacklisted from the artworld. 

So to have our premiere in a theatre in Auckland as part of the Whānau Mārama, New Zealand International Film Festival 2021 would have truly felt like a triumph. We are still heartbroken that we can’t celebrate this moment with Fiona in Auckland, especially when this is my first feature. 

But hey, that's just the way the cookie crumbles. At this point we are just glad to have our health and we are grateful for the film to see the rest of the country at this time.

The one moment of production during a Covid world that really saw you seize your film's concept and refuse to give up

I wouldn't say Covid seized the film's concept but we definitely rolled with the punches. Cannes Docs Marché du Film would have been a dream come true to attend in person however we just had to make due with being online and it was a very interesting process being the first to experience this new way of connecting.

What's next for you?

I am a workaholic so I'm always working away at a number of different personal projects. At the moment I'm exploring my roots and experimenting with ideas for a narrative film that focuses on what it is to be a Latinx immigrant in Aotearoa.

The one film from the 2021 New Zealand International film Festival that everyone should see - apart from yours

I’m very excited to  see ‘The Power of the Dog’ by Jane’s Campion on the big screen! Crossing all my fingers and toes that we are able to be out of this lockdown in Tāmaki Makaurau very soon so we can all travel to Wellington and enjoy the festival screenings over there. 

NZIFF Q&A 2021 - Peter  Brook Bell - Mark Hunt: The Fight of his Life

How's your 2021 been?

Probably, like most people it’s a lot of adapting to a changing situation with Delta appearing. I’ve certainly felt thankful though, for friends, family and the little things in life, like coffee, online quiz night or a walk in the park. I do need a haircut. 

Give us the elevator pitch for your film in 10 words. 

Champion fighter must overcome his dark past to rise again 

The one moment of your film that stands out

Fight wise, I think Mark fighting Ray Sefo in Japan is one of the most incredible things anyone will ever see. I won’t give the game away for people who haven’t seen it.

The one moment of your film that you wish you could have changed

Geez, that’s hard – a longer interview with Dana White would have been good, but you take what you can get. It was only fast talking by the story producer Eugene that got him to even be interviewed.

The one moment of your film that you think audiences will connect to

That is tricky, depends on the person. The people who have watched it have noted the humour in it, which they weren’t necessarily expecting. There are some laugh out loud moments.

The one moment of production during a Covid world that saw you enraged by the pandemic

No. Most of the film was shot long before Covid arrived on the scene. Just a pick-up interview in Sydney to update Mark’s situation was needed.

What's next for you?

I’m trying to get a feature documentary up on a music label that is very close to my heart.

The one film from the 2021 New Zealand International Film Festival that everyone should see - apart from yours

I haven’t been through the whole programme. It’s been cancelled in Auckland, but I was looking forward to seeing Jan Oliver Lucks’ “There Is No I in Threesome” and Briar March’s “Mothers of Revolution.”

Doctor Who: Flux: Chapter One: The Halloween Invasion review

Covid-19 presented Doctor Who with an unenviable opportunity.

And now the arrival of Doctor Who: Flux shows what the scope of that opportunity was and how the creative team has seized on season 13, this last full season of Jodie Whittaker's Doctor's time in the TARDIS.

In truth, a lot of The Halloween Invasion feels mostly like set-up for the opening chapter of a six part interlinked serial is - and also shows the limits of Covid-influenced production, with pockets of seemingly disparate groups of people pushed together in little acting pods. It gives the opener the feel of a jigsaw puzzle of TV, but also spectacularly manages to open up the mystery of what lies ahead as the universe faces its ultimate end at the sprawling tentacles of the Flux.

Opening with a "What the" moment of the Doctor and Yaz seemingly facing their own deaths at the hands of an unknown assailant, the almost Bond-like rush that kicks off Flux is something that gathers pace as the episode transpires. There's a lot to do here, but writer Chris Chibnall doesn't detract from the idea that Mandip Gill's Yaz and Jodie Whittaker's Doctor has been hurtling through time and space together since the fam was broken up after the events of Revolution of the Daleks.

As well as introducing the series' new villain, The Swarm, and hinting at the Doctor pursuing the revelations of The Timeless Child and her past, Doctor Who: Flux: Chapter One: The Halloween Invasion also has a job to do in introducing new companion, Dan played by John Bishop.

It's a little less successful here with Dan feeling more like a character than an actual person, with broad hints about his melancholy and his attitude of "What's the point of being alive if not to make others happy" contrasting with his reasonably laissez-faire demeanour. Bishop delivers a tender performance in parts, and while he may yet have more drama ahead, most of the episode plays to his comedic chops and his growing indignation of his treatment. 

At times, it does feel like Doctor Who: Flux: Chapter One: The Halloween Invasion has a lot going on, and little time to breathe. There's Sontarans, an appearance of the Weeping Angels which feels unwieldly and unnecessary, a new villain, a new species and a new character whose future is more closely tied into the Flux storyline as publicity has hinted. Add in a raft of locations and a jump into the past that seems at odds with everything else, and there's a lot to unpack from episode one that doesn't quite fit without the rest of the pieces. (Plus a couple of fan service nods to the past to boot as well). It's all within the usual run time of a normal episode as well - complete with a cliffhanger that's somewhat ruined by a mid-credits teaser for what lies ahead. Flux needs time to breathe, to deepen some of the connection and to hold off the breakneck pace to allow viewers time to process.

And yet, in the midst of it all is some extraordinary VFX work from the team, moulding a universe that feels threatened and a scope that feels expansive and vibrant. It's clear that for some of the series, Covid restrictions prevented multiple actors and locations, but the production team deserves to be praised for seizing the opportunity and running with it, rather than shying away.

Also worthy of praise is Whittaker and Gill - their relationship feels at times fractious and familiar. Yaz appears to be tiring of the Doctor's reticence to reveal all to her, and the Doctor is more interested in showing Yaz a good time rather than fully getting her input into proceedings - it's a relationship that at times feels uneven and yet realistic.

 Whittaker delivers moments of Tennant-inspired manicness ("Let's synchronise watches; forget that, I'm not wearing a watch" she babbles before racing off leaving Yaz to opine her own position in the relationship) as the story races on - but there are moments when the events of series 12 impede on her mindset, and Whittaker does well to play up the more alien edges of a person whose core has been shaken by prior events.

Ultimately, as it would, Doctor Who: Flux: Chapter One: The Halloween Invasion lays a lot of groundwork for what's ahead - but it does it with such chutzpah and joie de vivre that it's difficult to not be swept along with the paciness of what's transpiring. 

Doctor Who is back - and for six brief weeks, it looks like it's set to be a rollercoaster - maybe for now, it's best to just buckle up and enjoy the ride and wait for the answers at the end.

NZIFF Q&A 2021 - Annie Goldson, A Mild Touch of Cancer

How's your 2021 been?

A mixed bag like for many of us. I think a lot depends on the nature of one’s work, but I’ve been busy as I was already in the online work space pretty much. So no making sourdough for me but I’ve been isolated from a couple of loved ones in care, so that has been tough as they can be frightened and lonely and their plight doesn’t get much attention. 

In terms of filmmaking, we had to dodge and weave around lockdowns but were pretty lucky actually. I was shooting in the US with David in Feb 2020 just as the walls went up so we had to hotfoot it back to Aotearoa. Then we had literally just finished the final rough cut edit this year when the new lockdown began, but we were able to the online/mix remotely with Department of Post, who were great. But that meant me having to watch all three versions of the film many, many times. So yep, I’m pretty saturated. 

With teaching at University of Auckland too, we sped online without much warning so I have mastered the art, I think, of audio stripping Powerpoints. But my students have been pretty great and adaptable. 

And of course, now we have the Auckland leg of NZIFF being cancelled which is wholly understandable – but looking forward to it showing in cinemas around the rest of the motu and hopefully some special screenings with NZIFF next year.

Give us the elevator pitch for your film in 10 words.

If you are saved from dying, how do you live?

The one moment of your film that stands out

There are quite a few really: the emotion and honesty of the Robins family at recalling their loss; the gorgeous young couple Mile Nafatali and Jade Scandrett-Huriwai who had only begun dating one week before his diagnosis with lymphoma; and Kirsty’s anxiety about the future of her son losing his only parent – but maybe the moment should go to the ‘man of the moment’ David Downs.

 I filmed him addressing an audience in a TED-style talk and he recalls the moment after he is given some horrible news: ‘So my doctor said maybe it’s time I should consider a hospice, or go home and get my affairs in order …. The problem was I wasn’t having any affairs. I mean there were plenty of nurses around, but Katherine was always there … but you don’t want to know.’ (Better to see it than read it of course as his timing is spot-on).

The one moment of your film that you wish you could have changed

I’m not going to tell you that!

The one moment of your film that you think audiences will connect to

I think all of our subjects are relatable – plus we mostly all know someone who has had cancer so I think/hope that will be a lot of connection throughout the film.

The one moment of production during a Covid world that saw you enraged by the pandemic

Mile, a young Māori/Pacific man, has struggled with COVID throughout the progression of his disease and its treatment. He spent his first round of chemo in lockdown with his mother sleeping on the chair by his bed in hospital. In isolation, unable to see his large whānau. COVID has continued to plague him, and after he was accepted into a life-saving programme in Melbourne (given all his ‘first line’ treatments had failed) again the walls went up. Air NZ cancelled flights and Melbourne demanded hotel isolation. But the progression of his disease was very rapid and he couldn’t afford any delays. I’ll let you see the film to see how this was resolved but it underscores how people with other difficult diseases continue to be impacted.

What's next for you?

I’ve shot a film on the radical theatre troupe Red Mole, active in the 70s and 80s, an overlooked and highly influential troupe that knocked my socks off at the time. We shot in NYC, Mexico and Aotearoa and have one more interview to do remotely in Puerto Rico. 

So I’m just figuring out how to edit it. I’ve also gotten a few more new ideas percolating but will just wait and see what rises to the top. But I’m quite keen to have a cup of tea and a lie-down too.

The one film from the 2021 New Zealand International Film Festival that everyone should see - apart from yours

I’m looking forward to everything (if I could) but Flee would be up there, and all of the works from Aotearoa of course.  

We’re already talking to the festival about screenings of the feature once the cinemas are open again (COVID-willing), so I look forward to the big screen experience with an audience which is the fun party-thing that happens after the mahi of making a film. 

Roll on 2022.