Dr Who The Eternity Clock PS3 Game Review

Dr Who The Eternity Clock PS3 Game Review

Released by BBC
Platform: PS3

Hands up, then. I am a lifelong Who fan so the idea of a new game with vocal talents of the latest incarnation of the good Doctor made me somewhat giddy at the knees.

There's never been a fully successful Who game released before; sure the BBC have had some online games produced during the last run of the series, but it's never really made the transition to other platforms.

Enter The Eternity Clock.

You play as The Doctor (or River Song in a co-op game) and basically, with the Eternity Clock threatening to rewrite all of time and space, it's upto you and your trusty sonic screwdriver to try and save the day in this side scrolling puzzle solving piece. With Daleks, Cybermen, Silurians and new series villain The Silence out and about during the game, there's certainly plenty for the Doctor to avoid.

And, erm, that's it.

Don't get me wrong; I love the scope and ambition of this game - with Matt Smith and Alex Kingston providing heaps of lines and their voices to the action, it feels like a proper Who game (even if the voices of the enemies aren't in keeping with the show - a minor nitpick for fans) as well as the gorgeous incidental music from Murray Gold but as a gaming experience, I'm sad to say it's a little flawed in places.

The game's limitations - you can only move left or right - and problems when you team up with River Song (sometimes the computer's too slow to catch her up to you) mean it's not the smoothest playing experience and I think casual gamers won't forgive it those problems. (Though Who fans will likely allow these things to pass).

There are some fan thrills around - a lot of the background work has been targeted at the fans with in jokes and markings on the walls providing smirks) and using the Dr's sonic is fun too (you have to match soundwaves by shining the stick at doors to get them to open) but it's not just not a deep enough gaming experience to engross yourself in.

Not an unmitigated disaster for the publisher or fans - the voice work makes it feel so authentic and canon - but for casual game players, the simplicity of running left and right, jumping, hiding, shifting boxes and collecting hats and pages of a diary may not, unfortunately, be enough of a lure.

Ultimately though The Eternity Clock marks a very solid in road for the Dr Who gaming world; here's hoping that enough will buy it to ensure future games get it spot on as opposed to this very nearly effort.

Rating:

Doctor Who Series 12 to premiere New Year's Day

Doctor Who Series 12 to premiere New Year's Day

The brand new series of Doctor Who will premiere on New Year's Day 2020.

It's official: Doctor Who will return to our screens on New Year's Day 2020.

As confirmed in the brand new trailer below, Jodie Whittaker's Time Lord will ring in the 12th series with a special two-part episode titled 'Spyfall' written by showrunner Chris Chibnall.

Doctor Who series 12 will consist of 10 episodes, and the show will air on Sundays much like the previous series in the UK.

The Imaginarium of Doctor Parnassus: Movie Review

The Imaginarium of Doctor Parnassus: Movie Review

Rating: 8/10
Cast: Heath Ledger, Christopher Plummer, Verne Troyer, Lily Cole, Tom Waits, Johnny Depp, Colin Farrell, Jude Law, Andrew Garfield
Director: Terry Gilliam
Let's start by addressing the elephant in the room - yes, The Imaginarium of Doctor Parnassus is the last film with Heath Ledger in following his untimely death.
But it's important to note, he's only part of an ensemble cast - and isn't the real star of the film; granted there'll be a lot of attention on it because of that, but that's not the main reason to see this.
Anyway, I've got a bit ahead of myself there - plot wise, it's the fantasy tale of Dr Parnassus (a wonderfully world weary Christopher Plummer) who travels the land with his carnival troupe (including Verne Troyer of Austin Powers fame) and his daughter Valentina (a porcelain doll like Lily Cole).
Granted immortality, Parnassus is locked in an ongoing battle with Tom Waits' Devil - and the Devil has arrived to collect his due. You see, years ago, Parnassus wagered his first born and now to stop the Devil taking what's his, he bets he can win over five souls.
Into this mélange of madness in modern day London, arrives Heath Ledger's shyster Tony. Mysteriously left for dead, he's taken in by the troupe - and could be the tipping point in Parnassus' quest to finally beat the Devil.
Yes, it's sprawling and a bit unfocussed at times, but The Imaginarium of Doctor Parnassus is perhaps one of the most visually original pieces of cinema you'll ever see - there are flashes of pure genius from director Terry Gilliam as he weaves his surreal web.
Within minutes of the film's slightly sinister opening, we're thrown directly into the wondrous world of The Imaginarium and see what wonders it offers those who peer in. I don't really want to spoil the visual surprises on offer moments into the film - but suffice it to say, I'm pretty sure you'll have never seen anything this audacious or original up on the big screen before - both in terms of landscapes and scale - it's simply awe inducing.
If there's a star to this film, then it's director Terry Gilliam - while Ledger shows why he was always a cinematic presence, his dodgy dealer Tony, with his Jack Sparrowesque stylings, is not as outstanding a performance as his portrayal of Joker in The Dark Knight (although it was never meant to be). The rest of the cast are pretty damn good too - from Waits' seedy Devil to Plummer's put upon Parnassus, to Lily Cole's debut performance; each rise to the challenge laid down by their director.
Gilliam has had the wonderful visionary flair to create something magical among the mundane; his flights of fancy transform the film and turn it into something fantastical and new.
It was, after all, his vision which allowed him to give the film a life after Heath Ledger's death; it was his idea which gave Johnny Depp, Colin Farrell and Jude Law the chance to be part of it - and he manages their arrival into proceedings flawlessly and so perfectly, you have to double take how you've been given the visual equivalent of sleight of hand.
It's not a perfect film - and its rambling ways and narrative sometimes threaten to derail it; but for flights of fancy and unique spectacle, The Imaginarium of Doctor Parnassus is astonishing on so many levels. The journey is fantastic and so moving that by the end, you'll fight hard to keep a tear back.

If this is Ledger's legacy, then he can be grateful Terry Gilliam helmed his final outing - because what they've produced is simply unique. Easily one of the best films of the year - if only for the sheer audaciousness of it all.

Thanks For Sharing: DVD Review

Thanks For Sharing: DVD Review

In this comedy drama, three friends negotiate their way through the realities and temptations of being a sex addict; there's Ruffalo's Adam, who's five years sober, Gad's ER doctor who's attending meetings due to a court order and there's aphorism spouting Mike (Tim Robbins) who's been in rehab for a while and is a sponsee to Adam.

When Mike urges Adam to get back out there and start meeting people, he comes across Gwyneth Paltrow's perky but damaged Phoebe, who's had breast cancer and been in a relationship with an addict. Cautiously, the pair grow closer, acting on their initial attraction. But for Adam, the reality of his condition starts to intrude on his relationship.

Likewise, the arrival of Mike's addicted son causes friction between himself and his wife (Joely Richardson); and when Gad loses his job for inappropriate behaviour, he soon finds himself facing a harsh truth and needing the help of Alecia Moore AKA Pink's Dede, a fellow member of the group...

Thanks For Sharing is a rich piece, riddled with humour (mainly at Jonah Hill-esque Josh Gad) and fuelled by a powerful performance of addiction, which is grounded in reality by Ruffalo.

When he confesses to Phoebe, his thoughts are that "Cancer gets you sympathy, this gets you judgement" and it's probably the harsh reality of an addiction that's been thought of as simply a cover up for men cheating on their wives. But it's Ruffalo's honesty and earnesty as an actor while he's on this journey and its lucid insights which just manage to keep this on the right side of drama; while the comedy's amusing in places, it comes dangerously close to trivialising the addictions they face. Ruffalo excellently conveys the sympathy needed to root for this central character and his relationship with Phoebe as he battles with the addictions he's had. In fact, one scene where Paltrow delivers him a strip-tease is more completely inappropriate than tantalising given how it comes shortly after he confesses his condition. But that scene alone is symptomatic of a few of the problems of Thanks for Sharing - some of the narrative feels rushed and dare I say it, predictable; Paltrow's act would have had more resonance had it happened later on in the film. Likewise, Mike's journey from sanctimonious bon motif spouting holier than thou to inevitably wrong father is one that can be seen coming from a mile off. He's a guy who's wrecked his family and would rather be there for others than for those around him and his lesson learning is entirely unsurprising.

It's perhaps Josh Gad and Alecia Moore (in her first role) who really rise from this film; Moore's tearful confession in her first scene at the addiction class is wonderfully moving and heartfelt - it shows she is an actor on the rise; and Gad, while endowing his out of control ER doc with some humour, rises to the occasion as well.

But a terribly Hollywood, neat resolution ending almost leaves the audience feeling cheated as it powers towards a sunnier day where all our protagonists are in a good place. It's a crass ending to a film that's worked so hard to show that sometimes being out of control isn't very easy to control.

All in all, Thanks for Sharing has moments of inevitability but due to the character work done - especially by a wonderful Ruffalo - while exploring this maligned of addictions, it does just about what it sets out to do.

Rating:

Thanks for Sharing: Movie Review

Thanks for Sharing: Movie Review

Cast: Mark Ruffalo, Gwyneth Paltrow, Josh Gad, Tim Robbins, Joely Richardson, Alecia Moore
Director: Stuart Blumberg

Sex addiction - it's not a real thing, is it?

Tiger Woods, Russell Brand, David Duchovny and Charlie Sheen - they all claim to suffer from this disease.

In this comedy drama, three friends negotiate their way through the realities and temptations of being a sex addict; there's Ruffalo's Adam, who's five years sober, Gad's ER doctor who's attending meetings due to a court order and there's aphorism spouting Mike (Tim Robbins) who's been in rehab for a while and is a sponsee to Adam.

When Mike urges Adam to get back out there and start meeting people, he comes across Gwyneth Paltrow's perky but damaged Phoebe, who's had breast cancer and been in a relationship with an addict. Cautiously, the pair grow closer, acting on their initial attraction. But for Adam, the reality of his condition starts to intrude on his relationship.

Likewise, the arrival of Mike's addicted son causes friction between himself and his wife (Joely Richardson); and when Gad loses his job for inappropriate behaviour, he soon finds himself facing a harsh truth and needing the help of Alecia Moore AKA Pink's Dede, a fellow member of the group...

Thanks For Sharing is a rich piece, riddled with humour (mainly at Jonah Hill-esque Josh Gad) and fuelled by a powerful performance of addiction, which is grounded in reality by Ruffalo.

When he confesses to Phoebe, his thoughts are that "Cancer gets you sympathy, this gets you judgement" and it's probably the harsh reality of an addiction that's been thought of as simply a cover up for men cheating on their wives. But it's Ruffalo's honesty and earnesty as an actor while he's on this journey and its lucid insights which just manage to keep this on the right side of drama; while the comedy's amusing in places, it comes dangerously close to trivialising the addictions they face. Ruffalo excellently conveys the sympathy needed to root for this central character and his relationship with Phoebe as he battles with the addictions he's had. In fact, one scene where Paltrow delivers him a strip-tease is more completely inappropriate than tantalising given how it comes shortly after he confesses his condition.

But that scene alone is symptomatic of a few of the problems of Thanks for Sharing - some of the narrative feels rushed and dare I say it, predictable; Paltrow's act would have had more resonance had it happened later on in the film. Likewise, Mike's journey from sanctimonious bon motif spouting holier than thou to inevitably wrong father is one that can be seen coming from a mile off. He's a guy who's wrecked his family and would rather be there for others than for those around him and his lesson learning is entirely unsurprising.

It's perhaps Josh Gad and Alecia Moore (in her first role) who really rise from this film; Moore's tearful confession in her first scene at the addiction class is wonderfully moving and heartfelt - it shows she is an actor on the rise; and Gad, while endowing his out of control ER doc with some humour, rises to the occasion as well.

But a terribly Hollywood, neat resolution ending almost leaves the audience feeling cheated as it powers towards a sunnier day where all our protagonists are in a good place. It's a crass ending to a film that's worked so hard to show that sometimes being out of control isn't very easy to control.

All in all, Thanks for Sharing has moments of inevitability but due to the character work done - especially by a wonderful Ruffalo - while exploring this maligned of addictions, it does just about what it sets out to do.

Rating:

Peter Capaldi talks the return of an icon and meets NZ fans

Peter Capaldi talks the return of an icon and meets NZ fans

Doctor Who actor Peter Capaldi was in New Zealand last night for the "In conversation with" event.

Fans were given the chance to hear of the current Doctor's experiences on the show and had teases of Heaven Sent exclusively screened to them. It's the first time a current Doctor has appeared in New Zealand and happened the day after the show's 52nd anniversary.

Wearing his landmark shades in the second half, Peter Capaldi revealed that fans disgruntled by the wearable tech wouldn't have to wait long for the return of the sonic screwdriver - teasing that it would be back sooner than you'd think.

Two scenes from Heaven Sent were also shown, one with Peter Capaldi's Doctor facing the Veil and hinting that he was actually scared. Heaven Sent airs in New Zealand on Prime on Sunday at 7.30pm.

After the show, Peter spent over an hour chatting with fans and signing - he took particular time out with the youngsters who'd attended the event and waited for him after. In every moment and despite the late hours, he was both generous with his time and sincere to each and every single fan.

Below are some photos from the after event.

Dr Who - The Doctor, The Widow and The Wardrobe - DVD review

Dr Who - The Doctor, The Widow and The Wardrobe - DVD review

Rating: PG
Released by BBC And Roadshow

So, another festive outing for Matt Smith's 11th Doctor...and it's the most Christmassy Who yet.

Largely riffing on C S Lewis' The Lion, The Witch and The Wardrobe (The clue's in the title), this one sees the Doc in the middle of World War II and trying to help a potential widow give her 2 children the best Christmas they could ever have before having to tell them their father's died in the war.

Cue The Doc, who's masquerading as a housekeeper and who inadvertently ends up sending the youngest to another dimension - so he has no choice but to save the day.

Christmassy, festive and with very little story (if we're honest), this Who is a light frothy tale which to be honest is worthy of being watched through a bit of a festive haze.

Matt Smith is as ever, simply brilliant as the Doctor - and supporting roles this time for the likes of Claire Skinner, Arabella Weir and Bill Bailey are solid and bring the story nicely together.

Overtly Christmassy, this special is enjoyable; with its mix of great effects and good performances it's a watchable slice of sci fi.


Rating:

Before I Go To Sleep: Blu Ray Review

Before I Go To Sleep: Blu Ray Review

Rating: M
Released by Sony Home Ent

Based on the SJ Watson novel and from the writer / director of the underrated The American and Brighton Rock, comes this mind games/ head trip high concept thriller.

Kidman is Christine, a severe amnesiac, who wakes every day having had the last 24 hours of her life wiped out after a traumatic car accident, which left her battered and beaten. She wakes up each day with her husband Ben (Colin Firth), who patiently explains what's going on.

But each day, unbeknownst to Ben, Christine gets a call from a Dr Nash (soft spoken Mark Strong) who tells her to find a camera in her closet which has videos on explaining what's been happening. Along with these video diaries, Christine begins to get memories come flooding back - as the truth starts to slowly unfurl.

Recalling Memento to begin with thanks to its wall of photographs and written post-it notes around the house, you'd be forgiven for thinking that it was a case of similar territory.

Essentially a three-hander, Joffe opts for a psychological build up where the pendulum of truth and mistrust swings back and forth on Ben as Christine delves deeper into her own past and makes discoveries she's not prepared for.

Kidman delivers a variety of wide-eyed and horrified and shocked looks as the various situations demand of her but just manages to convince of the emotional rollercoaster she's boarded daily. Equally, Firth goes from fully supportive to fully shifty and back again in as many turns as the movie spins on its axis. And Strong is his usual solid self as the doctor who offers help to Christine, unasked for and therefore inviting questions over his motive. But none of the actors really ever shine through; they're solid enough, but don't dazzle.

The problem comes with the denouement of this movie (don't worry, no spoiler ahead) which is somewhat inevitable given how nobody really shows their hand until late in the piece. As it's a three-hander, and based on a book, whereas the twist may be slightly more plausible on the page, it's difficult to execute on screen given that a late in the day addition would throw implausibility into the mix.

In among the maudlin and melancholic tone, Before I Go To Sleep works on the mind games front and does keep you guessing throughout, before its totally OTT ending throws any sensibility out of the window. It's a shame because the suspense built up and the back-and-forth questions are quite effective during the thriller; sadly though, the moment it ends, you're suffering from the same affliction as Christine, because it's relatively unmemorable.

Rating:

Before I Go To Sleep: Movie Review

Before I Go To Sleep: Movie Review

Cast: Nicole Kidman, Colin Firth, Mark Strong, Anne-Marie Duff
Director: Rowan Joffe

Based on the SJ Watson novel and from the writer / director of the underrated The American and Brighton Rock, comes this mind games/ head trip high concept thriller.

Kidman is Christine, a severe amnesiac, who wakes every day having had the last 24 hours of her life wiped out after a traumatic car accident, which left her battered and beaten. She wakes up each day with her husband Ben (Colin Firth), who patiently explains what's going on.

But each day, unbeknownst to Ben, Christine gets a call from a Dr Nash (soft spoken Mark Strong) who tells her to find a camera in her closet which has videos on explaining what's been happening. Along with these video diaries, Christine begins to get memories come flooding back - as the truth starts to slowly unfurl.

Recalling Memento to begin with thanks to its wall of photographs and written post-it notes around the house, you'd be forgiven for thinking that it was a case of similar territory.

Essentially a three-hander, Joffe opts for a psychological build up where the pendulum of truth and mistrust swings back and forth on Ben as Christine delves deeper into her own past and makes discoveries she's not prepared for.

Kidman delivers a variety of wide-eyed and horrified and shocked looks as the various situations demand of her but just manages to convince of the emotional rollercoaster she's boarded daily. Equally, Firth goes from fully supportive to fully shifty and back again in as many turns as the movie spins on its axis. And Strong is his usual solid self as the doctor who offers help to Christine, unasked for and therefore inviting questions over his motive. But none of the actors really ever shine through; they're solid enough, but don't dazzle.

The problem comes with the denouement of this movie (don't worry, no spoiler ahead) which is somewhat inevitable given how nobody really shows their hand until late in the piece. As it's a three-hander, and based on a book, whereas the twist may be slightly more plausible on the page, it's difficult to execute on screen given that a late in the day addition would throw implausibility into the mix.

In among the maudlin and melancholic tone, Before I Go To Sleep works on the mind games front and does keep you guessing throughout, before its totally OTT ending throws any sensibility out of the window. It's a shame because the suspense built up and the back-and-forth questions are quite effective during the thriller; sadly though, the moment it ends, you're suffering from the same affliction as Christine, because it's relatively unmemorable.

Rating:

Merry Christmas everyone!

So this is Christmas, and if anything, 2020 has guaranteed this year's festive season will (hopefully) be unlike any other one ever.

Thanks to all those who've provided access to media screenings this year, to those who've provided review codes for games, to those who've provided review and giveaway copies of films on DVD and Blu-Ray and to those of you who've taken time to read and submit news to this site this year.

For now, it remains only to wish you all a Merry Christmas and a better 2021.

PS Don't forget Doctor Who: Revolution of the Daleks airs in the UK on New Year's Day (and in New Zealand on January 2), and prepare to farewell Ryan and the Chase's Bradley Walsh aka Graham!

See you in 2021.

Your future is in safe hands.
01.01.2021 pic.twitter.com/pt4kisinOU

— Doctor Who (@bbcdoctorwho) December 21, 2020

Guardians of the Galaxy: Movie Review

Guardians of the Galaxy: Movie Review

Cast: Chris Pratt, Zoe Saldana, Bradley Cooper, Vin Diesel, Dave Bautista, Karen Gillan, Lee Pace, Josh Brolin, Michael Rooker
Director: James Gunn

Finally, after the Marvel Universe has spent its last few outings hinting at a world beyond our own, it heads out into the Universe - and as a result, breathes new life into the Marvel franchise after the likes of Iron Man, Thor, Captain America and The Avengers threaten to become too Earth-bound with their obsessions.

Chris Pratt stars as brash adventurer Peter Quill aka Star Lord, abducted by aliens when he was young and had just lost his mother. Complete with a Walkman full of 80s tunes and a cocky swagger (Han Solo / Indiana Jones anyone?), Quill finds himself the object of a bounty hunt after making off with an orb sought by Lee Pace's Ronan, a despot who wants to destroy everything in his path.

It's this hunt which puts him in the sights of beautiful green skinned assassin Gamora (a kick-ass Saldana), psychopathically enhanced Rocket Raccoon (a CGI creation voiced by Bradley Cooper), his protector the tree Groot (voiced by Vin Diesel), as well as Drax The Destroyer (Bautista).

Forced to team up, this ragtag bunch of squabbling and quipping misfits are determined to save the day when Ronan's ambitions threaten the entire galaxy...

Essentially, the plot of Star Wars redux with a mash of every 80s film you can think of (even the legend of Footloose is tossed in there), Guardians of the Galaxy is a space adventure which benefits from not taking itself too seriously at all.

Eschewing the brooding of the Earth set Avengers in favour of plenty of action, humour and general lightness of tone, Guardians of the Galaxy simultaneously succeeds in expanding the Marvel Universe and introducing a great new set of characters to it, who bristle with unpredictability and hints of chaos. This is not a team that has superpowers to fall back on most of the time, may not succeed with their plans and bicker affectionately along the way.

But it also benefits from a large dose of heart in places; Quill's determination to cling to the Walkman and the mix tapes his mother made for him is a lovingly poignant touch, a way into his past and a nostalgia the older parts of the audience will recognise.

The group have a great chemistry (particularly thanks to Bradley Cooper's scene-stealing Rocket Raccoon) and synergy together and off-set the po-faced and overly serious nature of Ronan and his gang. Former Doctor Who companion Karen Gillan impresses as cyborg Nebula, even if she is slightly underwritten. Even Thanos shows up to link the last lot of film, but he's casually tossed aside as an irrelevance to the plot and inadvertently loses some of his menace because of it.

If there are echoes of previous film's denouements and big final act action pieces, it's probably to be expected given how Marvel is all about spectacle and team building. A final sequence of ramming home the message very nearly chokes the film - but even with this cinematic deja vu, former Troma director James Gunn handles it all with a certain directorial aplomb, never losing sight of the fun and action of the piece throughout - and creating some truly stunning space visuals.

But it's Pratt's film for the taking. And it sees him seize his chance to soar as an occasionally vulnerable lead, who's always ready with a quick comment and a self-knowing wink (he describes the orb as a Ark of the Covenant / Maltese falcon type) in any given situation. For Star-Lord, this is a charismatic star-making turn - along with his colleagues - that suggest Quill's future is assured (even with hints of more personal discoveries to come).

Oh, and stick around for the now obligatory post-credits sequence - it fits perfectly with the 80s kitsch colourful vibe, even if it does little to advance the ongoing Marvel threads.

Rating:



Watch the new Guardians of the Galaxy trailer



.

Guardians of the Galaxy: Blu Ray Review

Guardians of the Galaxy: Blu Ray Review

Rating: M
Released by Sony Home Ent

Finally, after the Marvel Universe has spent its last few outings hinting at a world beyond our own, it heads out into the Universe - and as a result, breathes new life into the Marvel franchiseafter the likes of Iron Man, Thor, Captain America and The Avengers threaten to become too Earth-bound with their obsessions.

Chris Pratt stars as brash adventurer Peter Quill aka Star Lord, abducted by aliens when he was young and had just lost his mother. Complete with a Walkman full of 80s tunes and a cocky swagger (Han Solo / Indiana Jones anyone?), Quill finds himself the object of a bounty hunt after making off with an orb sought by Lee Pace's Ronan, a despot who wants to destroy everything in his path.

It's this hunt which puts him in the sights of beautiful green skinned assassin Gamora (a kick-ass Saldana), psychopathically enhanced Rocket Raccoon (a CGI creation voiced by Bradley Cooper), his protector the tree Groot (voiced by Vin Diesel), as well as Drax The Destroyer (Bautista).

Forced to team up, this ragtag bunch of squabbling and quipping misfits are determined to save the day when Ronan's ambitions threaten the entire galaxy...

Essentially, the plot of Star Wars redux with a mash of every 80s film you can think of (even the legend of Footloose is tossed in there), Guardians of the Galaxy is a space adventure which benefits from not taking itself too seriously at all.

Eschewing the brooding of the Earth set Avengers in favour of plenty of action, humour and general lightness of tone, Guardians of the Galaxy simultaneously succeeds in expanding the Marvel Universe and introducing a great new set of characters to it, who bristle with unpredictability and hints of chaos. This is not a team that has superpowers to fall back on most of the time, may not succeed with their plans and bicker affectionately along the way.

But it also benefits from a large dose of heart in places; Quill's determination to cling to the Walkman and the mix tapes his mother made for him is a lovingly poignant touch, a way into his past and a nostalgia the older parts of the audience will recognise.

The group have a great chemistry (particularly thanks to Bradley Cooper's scene-stealing Rocket Raccoon) and synergy together and off-set the po-faced and overly serious nature of Ronan and his gang. Former Doctor Who companion Karen Gillan impresses as cyborg Nebula, even if she is slightly underwritten. Even Thanos shows up to link the last lot of film, but he's casually tossed aside as an irrelevance to the plot and inadvertently loses some of his menace because of it.

If there are echoes of previous film's denouements and big final act action pieces, it's probably to be expected given how Marvel is all about spectacle and team building. A final sequence of ramming home the message very nearly chokes the film - but even with this cinematic deja vu, former Troma director James Gunn handles it all with a certain directorial aplomb, never losing sight of the fun and action of the piece throughout - and creating some truly stunning space visuals.

But it's Pratt's film for the taking. And it sees him seize his chance to soar as an occasionally vulnerable lead, who's always ready with a quick comment and a self-knowing wink (he describes the orb as a Ark of the Covenant / Maltese falcon type) in any given situation. For Star-Lord, this is a charismatic star-making turn - along with his colleagues - that suggest Quill's future is assured (even with hints of more personal discoveries to come).

Oh, and stick around for the now obligatory post-credits sequence - it fits perfectly with the 80s kitsch colourful vibe, even if it does little to advance the ongoing Marvel threads.

Rating:

Project Almanac: Film Review

Project Almanac: Film Review

Cast: Jonny Weston, Sofia Black-D'Elia, Virginia Gardner
Director: Dean Israelite

What would you do if you were a teenager with a time machine?

The go-pro, handheld cam obsession of the selfie generation provides the backbone of the latest found footage movie, which mixes in the glee of recent superhero found footage movie Chronicle and the pure hedonism of Project X.

Centred around David Raskin (Jonny Weston), a high schooler science genius who's on the brink of being accepted into MIT but is short on cash for the required scholarship, Project Almanac posits the theory that time travel is possible.

After David and his gang of (largely) intelligent friends find a video of David's 7th birthday and spot him in the mirror, they gradually try to work out exactly how he got there. A series of clues lead them to the basement and the discovery of a machine that helps them travel in time - and could be the answer to their various problems.

Project Almanac wears its influences on its sleeve and actually proves quite successful within the confines of its genre. Citing Looper, Doctor Who, Groundhog Day, Timecop, Terminator, Bill and Ted's Excellent Adventure and even Argo, the writers have grasped the pop culture mettle fully by the hand and run with it. Plus the fact the central character's a science pro (and a relatable everyday type who struggles with girls, not your typical geek) helps with the set up and kicks the story along (though admittedly, David has to keep explaining things to his sister aka the audience proxy).

In fact, it's the fact that these characters are everyday types and relatable (the guy with the secret unrequited crush, the goofball of the group et al) that helps Project Almanac work in the ways it does. There's a dizzy joy as the group heads to Lollapalooza with backstage passes purchased after the event on eBay and do all the kinds of things you imagine you would do again - if you could.

The inevitable Butterfly Effect which hits the group impacts into proceedings late in the day; granted the theory is the slightest ripple causes the biggest problem but the script doesn't call for this to come into until the final stretch, making the film feel a little rushed as it throws emotional weight at the wall hoping it'll stick (and don't get me started on some of the time travel - it's paradoxical at best in places) and leaving audiences a little dizzied as the denouement tries to pack the weight on.

Overall, Project Almanac works best as a hedonistic mash up that stays within the confines of the rules it lays down; sure, some of the found footage moments creak and feel shoe-horned in but for the large part, the occasionally self-aware referencing and play-it-straight-but-within-teen-concerns means that this time travel flick doesn't give the feeling of deja vu you may have expected.

Rating

Inferno: Blu Ray Review

Inferno: Blu Ray Review

The fourth Robert Langdon book heads to the screen courtesy of Dan Brown's paranoiaand Ron Howard's direction.

With Hanks once again reprising his role for a third time as Professor Langdon, it's a tale of amnesia, over-population concerns and a good old fashioned chase movie.

As the film starts, Langdon wakes in a hospital bed where a doctor Sienna (Felicity Jones) tells him he's been shot and has a head wound caused by a bullet grazing him.

Unable to work out what's going on, Langdon, along with Sienna (who turns out to be a fan of his) is on the run amid concerns a global virus is about to be unleashed thanks to a genius called Zobrist (Ben Foster).

With time against them, and a series of chasers closing in, can Langdon solve the puzzle and save the day?

If ever a film was so jammed with conspiratorial edges and paranoia, as well as po-faced portentous dialogue such as "Humanity is inhuman" and "The sixth extinction will be our own", Inferno is that film.

With allusions to Dante's Divine Comedy and inferno, black death imagery, hellish sights given life on the streets via Langdon's visions, flashes of kidnapping, the film's so chock full of stuff happening that it merely disguises the fact there's little going on beneath the surface. 

It starts at breakneck speed under Howard's guidance and doesn't really let up or give you the chance to breathe and allow for the contrivances to be accepted as it hurtles through Europe and Italian streets and landmarks.

Hanks is solid as Langdon and Jones is intelligent as his acolyte aide (it's like Doctor Who given a new assistant each time these films come out as Langdon receives a new pretty exposition partner), but there's never really much of a vibe between the pair of them to propel the film through.

Far more successful is Hanks' pairing with Westworld's Babse Knudsen towards the end of the film. As the film slows and the pace drops, the scenes between the two of them develop a lilting humanity and bittersweet edge, lifting proceedings from what is a fairly ludicrous chase movie throughout. Equally welcome, though narratively brief is Khan's shadowy leader, who adds humour to the proceedings that grow increasingly dour and border on the stiffly dull.

With its schlocky edges and predictable twists and turns, it feels like it's a few years too late on the scene and while the book diverges from its own ending to something more sanitary and audience pleasing, it feels like it has no courage of its convictions.

Inferno is the cinematic equivalent of a pulpy paranoiac, writ large; an airport thriller riddled with holes and pretensions, perfect for a journey but forgotten the moment of touchdown.

In many ways, thanks to its dullness, it's the cinematic equivalent of Purgatory.

Inferno: Film Review

Inferno: Film Review

Cast: Tom Hanks, Felicity Jones, Ben Foster, Omar Sy, Sidse Babett Knudsen, Irrfan Khan
Director: Ron Howard

The fourth Robert Langdon book heads to the screen courtesy of Dan Brown's paranoia and Ron Howard's direction.

With Hanks once again reprising his role for a third time as Professor Langdon, it's a tale of amnesia, over-population concerns and a good old fashioned chase movie.

As the film starts, Langdon wakes in a hospital bed where a doctor Sienna (Felicity Jones) tells him he's been shot and has a head wound caused by a bullet grazing him.

Unable to work out what's going on, Langdon, along with Sienna (who turns out to be a fan of his) is on the run amid concerns a global virus is about to be unleashed thanks to a genius called Zobrist (Ben Foster).

With time against them, and a series of chasers closing in, can Langdon solve the puzzle and save the day?

If ever a film was so jammed with conspiratorial edges and paranoia, as well as po-faced portentous dialogue such as "Humanity is inhuman" and "The sixth extinction will be our own", Inferno is that film.

With allusions to Dante's Divine Comedy and inferno, black death imagery, hellish sights given life on the streets via Langdon's visions, flashes of kidnapping, the film's so chock full of stuff happening that it merely disguises the fact there's little going on beneath the surface.

It starts at breakneck speed under Howard's guidance and doesn't really let up or give you the chance to breathe and allow for the contrivances to be accepted as it hurtles through Europe and Italian streets and landmarks.

Hanks is solid as Langdon and Jones is intelligent as his acolyte aide (it's like Doctor Who given a new assistant each time these films come out as Langdon receives a new pretty exposition partner), but there's never really much of a vibe between the pair of them to propel the film through.

Far more successful is Hanks' pairing with Westworld's Babse Knudsen towards the end of the film. As the film slows and the pace drops, the scenes between the two of them develop a lilting humanity and bittersweet edge, lifting proceedings from what is a fairly ludicrous chase movie throughout. Equally welcome, though narratively brief is Khan's shadowy leader, who adds humour to the proceedings that grow increasingly dour and border on the stiffly dull.

With its schlocky edges and predictable twists and turns, it feels like it's a few years too late on the scene and while the book diverges from its own ending to something more sanitary and audience pleasing, it feels like it has no courage of its convictions.

Inferno is the cinematic equivalent of a pulpy paranoiac, writ large; an airport thriller riddled with holes and pretensions, perfect for a journey but forgotten the moment of touchdown.

In many ways, thanks to its dullness, it's the cinematic equivalent of Purgatory.