Jurassic World: Blu Ray Review

Jurassic World: Blu Ray Review

Rating: M
Released by Universal Home Ent

Welcome to Jurassic World.

A world 14 years in the making, a world where logic and cell-phone coverage are dramatically intermittent, a world steeped in a reverence and nostalgia of its past. And a world where once again reason fails to win over corporate greed and dinosaurs threaten our very existence.

In the latest, the fourth addition to the Jurassic Park series, we find ourselves on Isla Nublar, now a fully functioning dino theme park, living the legacy of Richard Hammond and yet still fighting the corporate greed of attracting a new range of visitors and sponsors to the site.

When the nephews of park manager Claire Dearing (Bryce Dallas Howard, initially heroic and always in high heels) head to visit, she finds herself having the worst day possible, thanks to the escape of a new genetically modified dino hybrid, the Indominus Rex. Setting out onto the island with the help of the Doctor Doolittle of the Dino world, Owen Grady (a slightly moodier and serious but still wise-cracking Chris Pratt), she tries to track down the kids.

For its first 30 minutes, Jurassic World is a blast.

It's bathed in a nostalgia of the kind of goosebumps you felt the first time you saw the dinosaurs on the big screen way back in the 1990s, when the T Rex roared through the speakers and the screen shook when that foot first slammed on the muddy ground.

It's a film which has a character admit early on, rather cannily, that "no-one's impressed by a dinosaur any more" before then showing off the very latest CGI Dino-tomfoolery while blasting that iconic and still effective John Williams riff through the screen. It also riffs on how corporate greed for the continual pursuit of the dollar is crippling their industry, messing with the very eco-sphere and apathy that haunts theme parks' owners everywhere. It even has a funny warm tech guy (New Girl star Jake Johnson) who has an original Jurassic Park T Shirt on as well as that CGI DNA Strand from Hammond's original presentation. It's horrendously self-aware and beautifully aware of what to stir within you to set you off reminiscing.

But then the cliched characters and everything-goes-to-hell-at-a-convenient-moment-plot really kicks in and you have this horrible feeling of deja vu. A B-plot about the army wanting to take on Grady's trained raptors presents itself and everything old which felt new again is suddenly old in terms of story and dialogue as the B-movie schlocky creature feature kicks into gear.

Nowhere is this more prevalent than in the writing of the women of Jurassic World, which feels like it's come from the Jurassic Era of Hollywood screenwriters. Bryce Dallas Howard's Claire goes from strong ball-buster to shrieking wreck who has to be rescued all the time; her one moment of self-empowerment is ripped away thanks to Grady's acknowledgement of her achievement and she's back to the sidelines; equally, the nephew's mum is simply more than a worrying sort who sends the kids away and then frets as the inevitable plays out. It looks very much as if Joss Whedon's Twitter criticism of the script is spot on  and certainly it's hard to step away from the overall nagging feeling that the women don't do well in this world that's clearly here just for the ride and thrills and nothing else.

Pratt brings his usual charisma to the role of Grady, though it's somewhat steeped in more dour seriousness than we're used to - but don't fret, there's still quippery to be had and there are still plenty of signs that this guy's groundedness and everyman charm show no signs of wearing off.

However, it can be argued, thanks in part to a Deus Rex Machina, that this cheesy lined, cornball flick is saved by the creatures themselves - even the Raptor Squad that Pratt's character has trained up. Most of the moments the dinos are on screen - from the Indominus Rex to the raptors racing through the forest to the Sea-World-esque creature soaking the viewers are incredible; a nod to previous creature features (via a Viewmaster early on) shows the series respects and adores its roots -even if it bastardises them somewhat with a dino that's had its DNA mangled by the mad scientists in the lab. A scene where Grady and Dearing are out in a clearing is a nice nod to a certain scene with a Triceratops from the first flick and gives the production a chance to use an actual creature rather than another CGI interloper.

Ultimately, Jurassic World brings exactly what you'd expect to the table in terms of story and spectacle - it's a world where dinosaurs both literal and metaphorical roam triumphantly, content to bathe in the glory that once was. It's a spectacle and a blockbuster alright, but it's a hollow one that feels like it's just managing to stay one step ahead of extinction.

Rating:

Ant-Man: Film Review

Ant-Man: Film Review

Cast: Paul Rudd, Michael Douglas, Corey Stoll, Evangeline Lilly
Director: Peyton Reed

It's fair to say that as the Marvel Universe expanded its horizons, those running it really did start to lose track of what made the earlier movies so great - character and a degree of intimacy.

Particularly in the last Avengers movie, which concluded in a soulless retread formulaic finale that was redolent of many before, relied on a MacGuffin and that was so steeped in angst, all the joie de vivre threatened to be crushed forever.

So, it's a joy to report that, despite a lack of ant-icipation, Ant-man takes Marvel back to its origins, with a flick that feels like a set- up / origins piece that was so prevalent of Phase One and one that is an utter blast in the cinema due to its simple plot.

Those unfamiliar with the incredible shrinking man needn't feel left out. 

It's the story of down-on-his-luck Scott Lang (a brilliantly vulnerable yet timed to comic perfection Paul Rudd), an ex-con with a moral code who just wants to do right by his daughter Cassie after getting out of jail. 

But Lang is singled out by Doctor Hank Pym (Michael Douglas back on form and looking wearied enough to suggest an age and lifetime in the role prior to where we join the movie) to be the recipient of his shrinking super-suit and help Pym ensure that the current CEO of the Pym Industries Darren Cross (Corey Stoll in a relatively thankless role as the rather average and cartoon villain of the piece) doesn't use the tech for the wrong reasons and let it fall into the wrong hands.

Ant-Man is refreshingly small scale and, for the most part, all the better for it.

Sure, it's entrenched in the Marvel Cinematic Universe, but it never feels fully bound by its conventions, ongoing storylines or bogged down by the Infinity Gems saga. 

There are nods to the world around and an acknowledgement of the events in Age of Ultron (even Pym has a wariness about the Avengers getting their hands on their tech) but this is flick is more about the story of fathers and their legacies, rather than super-sized and angsty heroes coming together to save the day.

Ant-Man is at pains to put its redemption lessons and daddy issues front and centre of the film, with a mantra of the ordinary man being a hero squarely at the fore. Lang's told by his ex-wife at one point that his daughter thinks he's "her hero - so just be the person she already thinks you are"; Pym himself talks a lot about how he failed his daughter Hope (a worryingly sidelined Evangeline Lilly) and Cross is angry that his mentor Pym never fully trusted him or embraced him.

But it's the fact that Marvel's embraced these issues and looked more to address the intimacy of the films that's not proved an insignifc-ant contribution to the overall effect.

Granted, there are some pretty impressive visuals that revel in their Honey I Shrunk the Kids and Planet of the Giants aesthetics, thanks to Pena's performance, there's a crackling line of comedy that buzzes all the way through (and clearly has Edgar Wright and Joe Cornish's DNA all over it) but there is never anything that wanders too far from the emotional edge that's clearly running through this ant's mandibles. And it's all wonderfully executed by Yes-Man director Peyton Reed.

It's not all perfect though - Stoll is never a full-on threat as the bad guy and the Marvel truck has gone back a few steps in its treatment and execution of women in this piece. Lilly deserved more of a presence in this first film (even if a mid-credits coda seems to promise more ahead) and is sidelined; it's once again a boy's world in this superior heist flick. And it has to be said the appearance of the wider world intrudes into this film - a mid-film sequence and even the post-credits moment feels like Marvel's going back to easy old habits, which is unwelcome after what's just transpired.

Ultimately, thanks to a massively charming Rudd and the lighter touch of the script, Ant-Man is entertaining fare, a welcome diversion from the darker edges and continual set-ups that have become the norm for these films and shorn of the ongoing mythology. 

Ant-Man is light, inventive, frothy and above all, fun - this caper has refreshed the Marvel cinematic offering and it's to be hoped that this formula won't be lost in future.

Rating:

Jurassic World: Film Review

Jurassic World: Film Review

Cast: Chris Pratt, Bryce Dallas Howard, Vincent D'Onofrio, Irrfan Khan, Jake Johnson, Omar Sy, Dinosaurs, BD Wong
Director: Colin Trevorrow

Welcome to Jurassic World.

A world 14 years in the making, a world where logic and cell-phone coverage are dramatically intermittent, a world steeped in a reverence and nostalgia of its past. And a world where once again reason fails to win over corporate greed and dinosaurs threaten our very existence.

In the latest, the fourth addition to the Jurassic Park series, we find ourselves on Isla Nublar, now a fully functioning dino theme park, living the legacy of Richard Hammond and yet still fighting the corporate greed of attracting a new range of visitors and sponsors to the site.

When the nephews of park manager Claire Dearing (Bryce Dallas Howard, initially heroic and always in high heels) head to visit, she finds herself having the worst day possible, thanks to the escape of a new genetically modified dino hybrid, the Indominus Rex. Setting out onto the island with the help of the Doctor Doolittle of the Dino world, Owen Grady (a slightly moodier and serious but still wise-cracking Chris Pratt), she tries to track down the kids.

For its first 30 minutes, Jurassic World is a blast.

It's bathed in a nostalgia of the kind of goosebumps you felt the first time you saw the dinosaurs on the big screen way back in the 1990s, when the T Rex roared through the speakers and the screen shook when that foot first slammed on the muddy ground.

It's a film which has a character admit early on, rather cannily, that "no-one's impressed by a dinosaur any more" before then showing off the very latest CGI Dino-tomfoolery while blasting that iconic and still effective John Williams riff through the screen. It also riffs on how corporate greed for the continual pursuit of the dollar is crippling their industry, messing with the very eco-sphere and apathy that haunts theme parks' owners everywhere. It even has a funny warm tech guy (New Girl star Jake Johnson) who has an original Jurassic Park T Shirt on as well as that CGI DNA Strand from Hammond's original presentation. It's horrendously self-aware and beautifully aware of what to stir within you to set you off reminiscing.

But then the cliched characters and everything-goes-to-hell-at-a-convenient-moment-plot really kicks in and you have this horrible feeling of deja vu. A B-plot about the army wanting to take on Grady's trained raptors presents itself and everything old which felt new again is suddenly old in terms of story and dialogue as the B-movie schlocky creature feature kicks into gear.

Nowhere is this more prevalent than in the writing of the women of Jurassic World, which feels like it's come from the Jurassic Era of Hollywood screenwriters. Bryce Dallas Howard's Claire goes from strong ball-buster to shrieking wreck who has to be rescued all the time; her one moment of self-empowerment is ripped away thanks to Grady's acknowledgement of her achievement and she's back to the sidelines; equally, the nephew's mum is simply more than a worrying sort who sends the kids away and then frets as the inevitable plays out. It looks very much as if Joss Whedon's Twitter criticism of the script is spot on  and certainly it's hard to step away from the overall nagging feeling that the women don't do well in this world that's clearly here just for the ride and thrills and nothing else.

Pratt brings his usual charisma to the role of Grady, though it's somewhat steeped in more dour seriousness than we're used to - but don't fret, there's still quippery to be had and there are still plenty of signs that this guy's groundedness and everyman charm show no signs of wearing off.

However, it can be argued, thanks in part to a Deus Rex Machina, that this cheesy lined, cornball flick is saved by the creatures themselves - even the Raptor Squad that Pratt's character has trained up. Most of the moments the dinos are on screen - from the Indominus Rex to the raptors racing through the forest to the Sea-World-esque creature soaking the viewers are incredible; a nod to previous creature features (via a Viewmaster early on) shows the series respects and adores its roots -even if it bastardises them somewhat with a dino that's had its DNA mangled by the mad scientists in the lab. A scene where Grady and Dearing are out in a clearing is a nice nod to a certain scene with a Triceratops from the first flick and gives the production a chance to use an actual creature rather than another CGI interloper.

Ultimately, Jurassic World brings exactly what you'd expect to the table in terms of story and spectacle - it's a world where dinosaurs both literal and metaphorical roam triumphantly, content to bathe in the glory that once was. It's a spectacle and a blockbuster alright, but it's a hollow one that feels like it's just managing to stay one step ahead of extinction.

Rating:

Doctor Who Legacy - interviewing Lee and Susan of Tiny Rebel Games

Doctor Who Legacy - interviewing Lee and Susan of Tiny Rebel Games

Doctor Who Legacy is a free gem-matching game that has a strong emphasis on the show's history, and uses RPG elements to take on teams of baddies while letting you play a team of your own making.

Fiendishly addictive and eminently playable, the game's been on my portable player for a while (to my wife's continued annoyance) and I was lucky enough to be granted a Q&A with the Tiny Rebel Games' team of Lee and Susan about their past, the game's past and future and the imminent launch of Bigger on the Inside (March 25th!).

First off, just a thanks for making a game that’s really taken off with the community . I’m keen to know how the idea of the game actually came to fruition?
We decided we wanted to design and produce our first mobile game, and to publish it at the same time. For two people this sounded like (and indeed was) a massive undertaking, so we decided that we wouldn’t make the whole project riskier by trying to create our own intellectual property at the same time. Instead we would find something we loved, something we would happily build a game around, even at the expense of having a chance of creating our own universe. We watch a lot of BBC shows, and at the time we had just finished watching the 2nd series of Sherlock (which we loved, huge fans of all of Moffatt’s work) so we approached BBC Worldwide about a Sherlock, which they said no to, but they wanted to work with us and were curious whether we wanted to make a Doctor Who game. We’ve watched so much Doctor Who in our lives that later that same day we pitched the Legacy project to them.

I know both of you had a background in gaming – can you tell us a little more about what you were doing?
Lee started in QA at Sony, before moving to Rockstar Games where he ended up producing on the Grand Theft Auto series, as well as working on many other projects there. At the same time, Susan was doing deals for Rockstar, then she co-founded 2K games, signing their launch slate of titles including gems like Bioshock and Borderlands. After they both left they founded several games companies together, launching projects such as the critically acclaimed Order Up Wii game, and War of the Worlds.

Was a Doctor Who game like this always on your mind to create?
This was the first idea we discussed after we found out that there was a chance we could work on a Doctor Who game, and we loved it so much that it’s changed very little from that first conversation. We love to play gem games in our spare time, and designed / produced a game together years ago, Puzzle Kingdoms, as a collaboration with Steve Fawkner, who created Puzzle Quest.

How much did your love of the show permeate the fact you were creating a game for it – did that make it harder?
It makes certain things harder. It would be better if we had a narrower knowledge of the show, since it becomes overwhelming trying to pick between so many amazing episodes, so many amazing characters. The game has heavily impacted our viewing of the show as well since we need to have a certain amount of spoiler filled information before an episode ends in order to create content which is launched alongside (such as the season 8 episodes, and the Christmas episode this year). As a couple who really love to watch new episodes together, having that impacted makes everything a bit harder.

I know the BBC has been supportive of what you’re doing with Legacy, that must make a real difference?
This game wouldn’t exist if it wasn’t for the amazing, unrelenting support from the brand team at the BBC and the Doctor Who team in Cardiff. We have over 100 allies and companions, the actors behind each need to give us approval to use their likeness, and every enemy we add has to be signed off by the person who created them. It’s a colossal amount of work behind the scenes, and work which is vital to the continuation of the game. We talk to our producer at the BBC almost daily (and he frequently joins in for our weekly Twitch chats) because, if we didn’t have that level of constant communication, we could never dream of launching the amount of content that we do.

The game’s over a year old now, with something like 1.5 million players and it’s ever evolving, does it surprise you how far you’ve come in a year?
It’s shocked us. Before launch, rumours of a gem based Doctor Who game leaked out and the first response was very negative. The game launched, and reviews were amazing, but we weren’t sure if our grand experiment, a continually updated, live mobile game, running alongside a TV show, would make it to the end of the first month. We’re amazed every day by what the community which has sprung up around the game has allowed us to do. We launched new content day and date alongside an episode of the show many times, which is unprecedented in the mobile space. We’ve updated the game almost weekly (on average, easily weekly) for the last 15 months, which is almost unprecedented. Last year a new mobile game was launched something like every 9 minutes, the chances of the project failing (especially given the long, uneven history of Doctor Who games) were high. We’re eternally grateful to the fans who support the game, who trust us to be the caretakers of this project.

Partnerships with Big Finish characters, Titan Comics, Pixel Who - what else do you want to explore in the Who-niverse? And how much deeper into the worlds I’ve just mentioned will you go?
We definitely want to explore all those worlds in much greater detail. This morning we’ve been working on new levels to go out alongside the new 9th Doctor comic book series coming soon, and we’re talking to Big Finish about how to continue our relationship. Pixel Who have been amazing, and we’re less than a week from the launch of the Bigger on the Inside prologue, which we’re incredibly excited about. Our work with BBC’s books group led to the inclusion of Cinder from Engines of War, the War Doctor’s only companion, which is great to see in the game – these allies from the extended universe who finally get to go on adventures with the whole cast.

It feels to me like the game and your approach to it is one of fluidity and community (with your constant email support and also Sharee’s work on the FaceBook page, Adi’s weekly Twitch stream) – you’re always adapting to your community, creating levels like Anna’s Playground for the younger end, being shaped by feedback as well, is that why you believe your free-to-play game has been so successful?
We believe that the industry’s first attempt at creating a free to play space missed the mark a bit and created a space where users were forced into paying through hard paywalls, horrible ideas like energy meters and utilized exploitative social networking. Sadly this worked, which left a space where players felt exploited, and businesses face a choice of doing what is proven to make money, or try to create something new which could fail. We believe that there is another way, something more fair. Legacy is our first attempt at making a free to play game, and the game has been praised as “the most moral free to play game”, but we still think there are other ways the industry should be heading. People seem to appreciate this, and it seems to have gone a long way to us maintaining high ratings on the app stores. When you combine this mentality with a fierce love of Doctor Who, it becomes pretty powerful stuff if you’re a gamer interested in that specific space. For new users, especially fans of Doctor Who, that’s a pretty happy and awesome community to be welcomed into if you do love what Legacy offers, which is the real success of the game.

You’ve got Bigger on the Inside coming out on 25th March to coincide with the 10th anniversary of the new series; the artwork looks fun and the game is again evolving (some may say regenerating perhaps) – what are you excited for people to see with this release?
This is our first story which starts with all 13 Doctors present, which is an amazing opportunity. The full Bigger on the Inside story is over 120 levels, which is almost as big as the game was when we launched. The story is epic – many of the Doctors get their own story arcs, and it’s all set inside the TARDIS, which allows us to dive into some of her rooms you haven’t seen for decades. We’ve been working on this for many months now, we’re just thrilled that everyone gets to see the first level =)

Also, you’re rolling out the next season of the game too (you must be exhausted with all of this work), but I’ve heard the release of this is going to be different – is it true it’ll be more episodic and weekly? If so, why?
Our goal from the very start of the project was to have an ongoing, live story. Up until now this has meant that big chunks of content come out every few months, however with our super efficient content pipeline, and our ability to push new levels out on demand, we’ve always wanted a story which fans can “tune in” to play every week. Just like the Saturday morning cartoons we grew up on – once a week 3 or 4 new levels will be released, all driven by story.

To play Doctor Who Legacy for free and get into the game that's got Whovians buzzing, click on the various formats below:

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:

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

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:

Doctor Who Christmas special transmission revealed

Doctor Who Christmas special transmission revealed

Prime TV has today unveiled details of when you can see the Doctor Who 2014 Christmas Special - Last Christmas.

Read on for the announcement from the Facebook page and scroll down for some sneak peeks:

DOCTOR WHO!

Trapped on an Arctic base, under attack from terrifying creatures, who are you going to call? Why, Santa Claus, of course! Yes, it's that time of year again as the Doctor and Clara turn to the jolly man himself (special guest star Nick Frost) to save the day in the brand new 2014 Doctor Who Christmas Special!

Come Boxing Day evening tuck into your Christmas leftovers then find a comfy spot in front of the TV at 7.35pm for our evening screening of the Doctor and Clara’s ‘Last Christmas’. We also bring a little present for loyal Whovians on Boxing Day morning, a special speedy 9.00am transmission, airing in NZ just after it airs in the UK!

Edge of Tomorrow: Blu Ray Review

Edge of Tomorrow: Blu Ray Review

Rating: M
Released by Roadshow Home Ent

With the earth invaded by creatures known as the Mimics and with nations toppling around them, Tom Cruise's spin doctor Major William Cage finds himself thrust onto the front line by a vindictive general (Brendan Gleeson) on the eve of a major last push from UK soil.

Unable to cope with the concept of fighting, and with a Normandy style beach landing just around the corner, Cage does all he can to escape the war - but to no avail. Thrust into the theatre of war, Cage is killed by a Mimic - only to wake up and find that he's jumped back in time and is being forced to live the same 2 days over and over again....

Edge of Tomorrow is based on the Japanese novel, All You Need Is Kill and is a heady mash up of the sci fi and other genres you've seen before - from Starship Troopers to Groundhog Day,Saving Private Ryan to Looper, Elysium with its exo-suits and even Cruise's last outing,Oblivion,  it's derivative in many ways.
Humour permeates the first third of the film with Cruise's Cage being offed in a variety of ways, in a plethora of situations that if you're not a fan of the superstar may bring you an element of perverse glee (as well as make you think it's some kind of bizarre cinematic video-game).

Though, it's Cruise that shines through in this as he starts out as a smug PR weasel of a man forced into a baptism of fire on the battlefield; with each death, there's a grim edge that creeps into his character and an attitude that he manages to sell incredibly well, with his own old age helping.

Equally, Blunt impresses as the bad-ass Rita Vrataski, despite starting out as the "Full Metal Bitch", heroine of the army and gradually softening to Cage's continued assault. Toned and combat ready, she carries her no-nonsense one-note heroine as Cage's foil throughout - she shoulders the burden of the bulk of the laughs during the reset sequences in a nice twist of expected gender stereotypes. Mention must also go to the evangelical Bill Paxton who, as a base sergeant, spouts such litany of Biblical proportions on combat that you almost feel like signing up yourself.

Liman's brought together an alien invasion that's visually original too, with spidery-style octopus like creatures ripping through the troops during the Saving Private Ryan beach landings. Speed and visual FX impress and make up for some of the convenient lapses in time travel logic and plotholes that permeate parts of the film (why is Gleeson's general so adamant that Cage will fight, how does an airship get off a base during lockdown).

Though it has to be said, the final portion of the film almost muddies the whole experience with a showdown that's as generic and predictable as most sci fi fare and derails the sparkiness and edge that delivered a freshness so early on, despite the sci-fi hokum and flimsy premise.

All in all, Edge of Tomorrow is a fine example of its oeuvre, a fun blockbuster sci-fi blast that reinstates Cruise as the king of the popcorn flick and proffers up Blunt as the queen of kick-ass.

Rating:

Win a double to Auckland's Armageddon Expo!

Win a double to Auckland's Armageddon Expo!

It's coming - and here's your chance to be part of the brilliant annual event that is Armageddon Expo!

We're giving you a chance to win a double to Auckland's Armageddon expo - simply email to this address: darrensworldofentertainment@gmail.com  and in the subject line put ARMAGEDDON - it closes Weds 22nd Oct, so best be quick!

Event Backgrounder

Dates:                                    ASB Showgrounds: Friday 24^th October – Monday 27^th October

Opening Hours:                    Friday October 24^th – 6pm to 9pm

Saturday October 25^th – 10am to 6pm
                Sunday October 26^th – 10am to 6pm
                Monday October 27^th – 10am – 5pm

Website:                               http://www.armageddonexpo.com/nz/

Ticket Prices:                        SINGLE DAY ENTRY - Friday to Monday
Adult - $20.00 (presale only) - $25.00 at the door
Student (with ID) $17.00 (presale only) - $20.00 at the door
Child (5-12) $10.00 or FREE with a full paying adult
Family (2 adults & 3 child) $55.00

MULTIDAY PASSES
Special discounts apply for purchasing tickets to three or four days of the event.

THREE DAY PASS
Adult - $50.00 (presale only) - $60.00 at the door (save $10.00)
Student (with ID) $45.00 (presales only) - $50.00 at the door.

FOUR DAY PASS
Adult - $60.00 (presale only) - $70.00 at the door
Student (with ID) $55.00 (presales only) - $60.00 at the door
Child (5-12) $30.00

TICKETS ARE NOW ONSALE THROUGH WWW.ITICKET.CO.NZ 

Event Description

Dust off your light saber, clean out your turtle shell and get practicing your favourite superhero theme song because Armageddon Expo 2014 is coming to town for four huge days of pulp culture mayhem in October.

The ASB Showgrounds will be overrun with sci-fi, movie and comic fans of all ages, gamers and the just plain curious from October 24^th – 27^th, starting with a special opening night on the Friday and then three full days of action and adventure over the Labour Weekend!

Armageddon features more entertainment, mind-altering exhibits and famous people than you can handle, with comics, Anime, TV celebrities and movie stars, comic and voice artists, massive interactive gaming stands and much, much more on display.

This year’s list of celebrity guests includes a star studded selection from some of the most iconic TV series and movies headed by MacGyver himself Richard Dean Anderson, followed by the stunning and loveable Doctor Who companion Jenna Coleman, the WWE master of beef and braun ‘Hacksaw’ Jim Duggan, along with voice artists William Salyers from the awesomely quirky The Regular Show and Greg Cipes, the voice of our favourite Teenage Mutant Ninja Turtle, Michaelangelo.

Comics / Sci Fi / Fantasy / Cards:

Comic Guests: These ever-popular guest panels are a standout feature at Armageddon, as well as the autograph signings and sketches from the highly talented group of International comic guests. This year, Armageddon welcomes Kevin Eastman co-creator of Teenage Mutant Ninja Turtles, Adrian Kinnaird of Earth’s End: The Best of New Zealands Comics, joined by Ant Sang from The Dharma Punks, and writer Kyle Higgins from Batman Eternal, Deathstroke, Nightwing and more.

Tournaments: Aucklands home of card tournaments for card enthusiasts to meet up and play on a grand scale – they swap, compete and challenge each other in Pokémon, Yu Gi Oh, Cardfight!! Vanguard and Magic The Gathering all under the one roof over three days.

Anime / Manga / Cartoons:

Special Yu Gi Oh Presentation: Armageddon Expo and Madman Entertainment present a special screening of Dragon Ball Z – Battle of Gods with the voice of Goku - Sean Schemmel in attendance! Sean will intro the film and take questions from fans before the screening. 

Trans-Tasman Cosplay Contest: A big deal at Armageddon, the Cosplay Contest becomes an outright Cosplay war with Australia. This is a contest for fans of all genres and of all abilities and is open to TV, movies and Anime competitors.

Cosplay Parade: For those who don’t want to compete, the Cosplay Parade is an opportunity to get on stage and show off their costumes, as well as take part in zany performances and skits.

Voice artists at Armageddon 2014 include: Greg Cipes the voice of Michelangelo in Teenage Mutant Ninja Turtles, William Salyers aka Rigby from The Regular Show, Roger Jackson voice of Mojo Jojo off Powerpuff Girls and Ghostface from Scream, Jason Spisak from Young Justice.

Screenings and Panels:

Get photos and autographs with your favourite TV and Film stars. Guests appearing include: Richard Dean Anderson (MacGyver, Stargate SG1), Jenna Coleman (Doctor Who), David Nykl (Stargate Atlantis), Sarah Louise Madison (Doctor Who), Giancarlo Esposito (Breaking Bad), Michael Hogan (Teen Wolf, Battlestar Galactica), Jacqueline Samuda (Stargate SG1), AJ Buckley (Supernatural, CSI NY), Travis Wester (Supernatural), David Hewlett (Stargate Atlantis), Suanne Braun (Stargate SG1), Peter Williams (Stargate SG1), Mira Furlan (Babylon 5, Lost), Judson Scott (Star Trek 2), Helen Slater (Supergirl, Smallville), Cliff Simon (Stargate SG1), William Kircher (The Hobbit), DJ Qualls (Supernatural, The New Guy), Barry Duffield (Spartacus).

Screenings: Join THE ZONE for a preview of the feature-length premieres of Defiance and  Stargate SG-1: Children of the Gods.

Gaming / Technology

Gaming Kiosks: This year will feature a massive increase in gaming distributors with some very exciting brands showing their latest releases. Including; Little Big Planet 3, Singstar Ultimate Party, Mortal Combat X, Lego Batman 3, Call of Duty Advance Warfare and more!

Kiwi-made Games: The NZ Game Developers Association have bought some of the finest kiwi game developers together for a unique Armageddon pop-culture indie showcase and speakers panel.

Sports

Impact Pro Wrestling: New Zealand’s premier wrestling group will once again be laying the smack downs, bringing the big talk and even bigger moves to the Kiwi public at the Armageddon Expo 2014. Be prepared to witness ‘never to be tried at home’ moves so impressive, they’ll have you trying them as soon as you get home!

WWE Wrestling Hall of Famer: ‘Hacksaw’ Jim Duggan is coming to Armageddon and will be wrestling at the event as well as signing autographs.

Fun for Everyone

The Forbidden Jungle: Upon entry to Armageddon, a secret peril awaits any who is brave enough to enter... The Forbidden Jungle! Be escorted through a hidden area of the event, where something dangerous lurks, just waiting to be disturbed.

Meet The Moe Show: Meet your favourite characters from The Moe Show at Armageddon! Moe, Fern and Frank will be there for photos and fun! The best chance to catch them will be before 2pm (Moe needs his nap time) but if they're having fun they might stay all day!

Eating Contests: Push the limits of your stomach with the Fear Factor Challenge – six rounds of eating challenges, and if you survive that, why not have a shot at the Tip Top Ice Cream eating challenge to really finish yourself off?

Kamehameha Contest: Has been a screaming success over the past years and is hugely entertaining to watch. Sit back and watch or get involved and compete against other fanatic Dragonball Z fans for the most powerful Kamehameha.