Drama at the New Zealand International Film Festival

Drama at the New Zealand International Film Festival

With just days until the New Zealand International Film Festival kicks off in Auckland before heading around the country, it's time to cast an eye over some of the drama and local cinematic fodder on offer.

The festival kicks off with Behind the Candleabra, a Soderbergh blast of fabulousness starring Michael Douglas as Liberace - and things don't die down soon after.

But it's not just the flamboyant which will resonate with audiences during the festival run. Sometimes, the quiet powerful pieces pack an emotive punch.

The Rocket

One of those doing just that is The Rocket. This little drama won the best film prize at the Berlin International film fest this year - and just scored the audience award in Sydney. Set in Laos, it's the tale of a young boy, Ahlo, who, according to his grandmother is born under a curse. Relocated by the powers that be from their village due to a hydroelectric plant being built in the region, he and his family find themselves in a shanty refugee town. With the belief Ahlo has a curse, the family's soon outcasts and become friends with one other set of outcasts - a young girl and her James Brown loving, purple suit wearing uncle. A chance to partake in a local rocket festival (where finalists launch off their rockets into the sky for a prize) holds the key to their future...and potentially Ahlo's redemption. A small film with a massive heart, this packs a punch early on during a mountain trek and is evocative in its denouement. With a lead that's stunningly impressive, Ahlo is by turns relatable, loveable and adorable. The Rocket's right to win its acclaim and you really should make this a must see on your calendar.

Starlet, starring Dree Hemingway (daughter of Muriel) is the story of a 21 year old adult model Jane living in sun-drenched California and getting high with her pet chihuahua (the Starlet of the title) in tow. But when she heads to a garage sale, she picks up a thermos from an old lady, Stella, which she later finds is laden with almost 10k of cash. Despite initially trying to return the thermos with no success, she's reticent to reveal the cash is there - and decides the only way to make it up to Stella is to befriend her. What follows is an understated indie (and quite sexually explicit in some brief parts) and is utterly watchable as the friendship begins to blossom. Sure, dysfunction blows in thanks to Jane's waster flat-mates and a seedier side of American life but it's a breezy fresh feeling film - mainly in part to a transcendant Dree and a beautifully underplayed octagenarian turn from unknown Besedka Johnson. Starlet may drift in parts but it certainly hits the astral plains it aspires to in others.

Soul In The Sea

Soul In The Sea is a doco looking at the effect of Moko the dolphin on the people of this country - and in particular those living in Whakatane and Gisborne where the friendliest dolphin showed up back in 2007. The bottlenose blighter stole hearts and minds of most of the residents - but not those working at DoC it would appear. Sure, director Amy Taylor appears to be nothing but sympathetic to the creature with underwater shots, sun kissed sequences and harp music, but there's just something inherently lovable about Moko - and his charming effect on those around him. In particular, local Kirsty Carrington, a single mother, who rediscovers her roots and community compassion because of her association with the water bound Flipper. Shot 6 months before Moko's death, this empathetic and sympathetic piece captures the divide that the giddy addiction brought - from the locals who one person describes as having the crazies for the creature to those who staunchly defend it, all of the impact of the dolphin's time is thrown under the microscope - as is our kinship and desire to do all we can to save those creatures we deem as helpless and needing protection. There's no denying the charm and moving nature of this piece as our link to our world is explored and certainly as the camera follows Kirsty as she finds Moko's body, I've never felt so much like a moment was being intruded on. There's a charming simplicity to this doco which will entrance many who watch it - and DoC should spend some time reconsidering their public image in light of it - because it looks as if the shadow of Moko will continue to cast a pall on them three years after his untimely and suspicious death.

Gardening with Soul

Kiwi doco Gardening with Soul has a simple mantra - "You can't be bored in a garden". It's a doco featuring gardening expert and nun extraordinaire, Sister Loloya Galvin. She's the main gardener of the Home of Compassion in Island Bay in the capital. By all stretches of the imagination, she's a local legend - espousing gardening tips as well as beavering around the bushes and pottering in among the plants while inspiring others within the community to take up the gardening. But director Jess Feast has taken in more than just the magnificent gardens which Loloya tends to and landscapes she dwells in- and has woven together a story of social history in New Zealand as well as philosophical elements. Loloya worked as a nurse with sick children and also raised children with disabilities. What follows is an insight into a life gone by and a woman whose very soul has always been in the heart of her community. 90 year old Loloya has some great moments as she reminisces among the root veg, (she believes if everyone had a shed to go to, there would be no domestic violence within New Zealand) but thanks to gentle Q&As from Jess, this quietly moving spiritual reflection on a life is beautifully shot, socially fascinating and completely charming. It's a social snapshot of a New Zealand which may be in the past, but whose roots, thanks to Sister Loloya, have continued to grow and flourish long after the winds of change have blown through.

Terms and Conditions May Apply is a slickly put together doco which takes a terrifying look at how things change when you click on the Agree section of any website - and how little you know about what's there in the small print. Sure, everyone pretty much knows that no-one fully reads all the fine print of the electronic contracts, right? But what transpires in this doco is how deep the check-box ignorance goes and how continual flip-flopping of privacy policies is occurring. Granted, you'd have to be naive to not know this, but this doco posits the theory that privacy is pretty much dead thanks to our blase way of dealing with it and our reckless disregard for what the actual implications are. Taking in a tourist whose Tweet claiming to "destroy America" was seen as a provocation in a post 9-11 world by a computer red flag system despite being a declaration to party when they got there and a comedian whose anger against the Apple store ended up with a SWAT raid on his home, the examples show how prevalent the paranoia is these days and how the nanny state may end up destroying some unintentionally. The expose may be nothing new to the tech savvy but I have a feeling some of us may be a little more reticent to just ignore the small print moving forward.

Blancanieves

Blancanieves is an incredibly brave film. Spain's Academy Award submission is a black and white film, no doubt buoyed by the widespread success of Oscar winning The Artist. Set in 1920s Spain, it's the tale of Carmen, an orphan whose mother died in child birth and whose father Antonio, a famed matador, was left crippled after a bull gored him in a fight. Marrying his former nurse, the cruel and crazed Encarna, Antonio manages to bond briefly with his newly discovered daughter before Encarna orders their demise. Narrowly escaping Carmen teams up with a group of bull-fighting dwarves before an inevitable showdown with the big bad of the day. Wonderfully reminiscent of the films of yesteryear with a transcendant and magical score, which marks this film out as a potential future live cinema event, this is a silent film the likes of which have not been seen for years. It deserves to be seen on the majesty of the big screen. Wallowing in the medium and lavishing the monochrome, it feels like a full blooded piece from 1920s Hollywood as it takes on the Snow White legend in passing; it's romantic, eye-poppingly gorgeous and a nostalgic piece which is spell-binding and perfectly crafted.

The Weight Of Elephants

The Weight of Elephants wins the award for the smallest Kiwi film with the biggest emotional punch so far. It's the story of eleven-year-old Adrian who's thrust upon his grandmother despite her already having her hands full with a depressed uncle. Adrian is a sensitive soul, a troubled individual who doesn't appear to fit in anywhere he goes. Bullied at school, he tries to strike up a friendship with another classmate, whose affections come and go like the breeze on a summer's day and who's more prone to falling in with the bullying group than sticking with his potential life long friend. An outsider, Adrian begins a burgeoning friendship with the young girls who live next door but whose appearance in the town is a mystery. With a news story bubbling away in the background of three young children who have disappeared from Invercargill without a trace, there are parallels aplenty, even if direct conclusions are never made obvious. While some of the initial child acting is a little ropey in places, Demos Murphy as Adrian is utterly outstanding. He captures the fragility of a lost soul trying to make his way in the world and not be left behind totally plausible as the silent and quiet build up comes to a shattering conclusion. Sensitive story-telling, complete with a haunting soundtrack and some heartbreaking moments, make The Weight of Elephants a really different coming of age tale. The final moments of the film produce a major shock which will see a deep intake of breath in an auditorium, but the film's resolution, while far from definitive, will be etched in your mind long after the lights have gone up.

The New Zealand International Film Festival kicks off in Auckland on July 18th - before heading around the country. For more info on all the programme, including session times and ticket details, head to their site at www.nzff.co.nz.

Read a preview of The New Zealand International Film Festival docos here

Read an interview with The New Zealand International Film Festival director Bill Gosden here.

Beautiful Creatures: DVD Review

Beautiful Creatures: DVD Review

Rating: M
Released by Roadshow Home Ent

Based on the Beautiful Creatures series, Alden Ehrenreich stars as Ethan Wate, a 17 year old boy who lives in Gatlin, in South Carolina, a small Bible belt conservative town where some believe Satan is among them and where others are prone to breaking out in prayer in class.

Ethan's been troubled by the same dream for months, where a young girl is waiting for him on a battlefield - but before he can get to her, he's killed.

Ethan's world is given a jolt with the arrival of 15-year-old Lena Duchannes (Alice Englert, the daughter of Jane Campion), the niece of Macon Ravenwood (Jeremy Irons). Mysteriously drawn to Lena, Ethan finds himself dragged into a world of witchcraft, when it transpires that Lena is a Caster (witch to us laymen) and who, on her 16th birthday, will decide if she is on the side of Light or Dark. As the Ravenwood family gathers to fight for her soul, Lena faces all manner of temptations to break the curse on the clan as well as the temptation to follow her apparently doomed relationship with Ethan.

The Beautiful Creatures movie is a supernatural romantic fantasy drama, clearly aiming to fill a void left by a certain Bella and Edward. Unfortunately, comparisons to Twilight are inevitable (as are any other films of a similar ilk) despite witchcraft being a more central part this time, rather than vampires and werewolves.

It's plodding, lacking in real danger and quite flat at times, and Englert's serious brooding and worrying sullenness is in direct contrast to Ehrenreich's lighter, almost sillier touch. They make an odd mix and perhaps some of the levity of Ethan makes it a difficult ask to believe in their destiny and doomed love. Though, you could argue they just about pull it off in this first Beautiful Creatures book adaptation.

A solid supporting cast bring out a mix of Southern accents; Emmy Rossum shines as the siren who went over to the dark side, Jeremy Irons is all rasping accent as the imperious head of the Ravenwood family, and who brings a seriousness that borders on aloof at times; Emma Thompson goes completely over the top as the baddie Seraphine, who wants to claim Lena for her own - though whether you're on board with her performance depends on your view of OTT. And Viola Davis deserves some praise as the Seer Amma who imbues her role with a degree of seriousness that's welcome in amongst some of the OTT melodramatic acting of the others.

It's not a subtle film in terms of the message of a girl, coming of age and about to journey into womanhood and who must choose what path she takes - and there's certainly the occasionally clunky dialogue you'd expect from the formulaic genre (Lines such as "love is a risk for anybody" are wheeled out to hit the target demo right where they need to).

On the FX and aesthetics front, there's a nice mix of the Gothic and spooky, which recall Dark Shadows in many ways, but there's an overall feeling of indifference to this latest. An odd mix of tone, lack of real fizz don't give the love story the spike it needs and while its target demo of troubled love struck teens will lap it up, some slightly older may feel that the lighter in tone Beautiful Creatures doesn't have the magic to give the supernatural flick the edge it needs.

Rating:

Dungeons and Dragons: Chronicles of Mystara: PS3 Review

Dungeons and Dragons: Chronicles of Mystara: PS3 Review

Platform: PS3
Released by Capcom

Ah, retro gaming.

They say nostalgia ain't what it used to be - but given that Capcom's already given us the Arcade Cabinet this year which collected together the likes of 1942 and Commando, as well as Ghosts'n'Goblins, I'd be inclined to disagree.

Thankfully, Capcom's continuing to pump out some real retro classics with this latest side scroller, an updated HD version of Dungeons and Dragons: Chronicles of Mystara.  The original was apparently a fave of the D&D world and had only been found in arcades scattered around the world. Which is kind of odd, because they're fun in a very old school, button mash, grab a group of friends together kind of way.

You get to choose a character to be part of the action, and then you're straight into it - and three other mates can join you as well as you bash away at anything which moves and breathes fire or threatens to kill you. Be you dwarf, elf, wizard or cleric, there's plenty of different strengths to explore and exploit. Magic forms part of the game as well and by accessing the menu through triangle, you can bring up the magic spells and use them to your advantage. It slows down the gameplay ever so slightly, but it's nothing too intrusive.

In terms of the gameplay itself, it's relatively simple - move around the screen, hack and slash your way to victory and save the day. Not exactly rocket science by any stretch of the imagination, but damn it all, it's great fun to play - either solo or with others. Treasures lie around after your various kills and it's worth picking those up and trading on them later on, but if you don't want to spend that time collecting, you can get on with the killing as well.

Clear definition HD graphics only accentuate the arcade experience in that they faithfully reproduce what was on the arcade screen back in the day. I have to admit I've not played the games back then, but these console versions are fun, enjoyable and easy to dive into for a few minutes or a few hours. With the chance to go online as well, you don't have to be a Elfy no mates at home and play solo.

Overall, Dungeons and Dragons: Chronicles of Mystara won't change your life - but it's a solidly entertaining piece of retro gaming that's well worth considering a download from the PlayStation Network for.

And remember, nostalgia is well worth it in the gaming world.

Rating:

New Zealand International Film Festival preview

New Zealand International Film Festival preview

It's here for another year and as ever, the range is broad, eclectic, informative and entertaining.

Yep, 2013's New Zealand International Film Festival has arrived and with it, a veritable source of cinematic booty to plunder.

From Joss Whedon's take on Shakespeare to Adam Wingard's shocker You're Next, there's plenty to dive into as the rain comes. Here's just a taster of some of the films I've had access to prior to the festival.

Who Will Be A Ghurka is a doco looking at what goes into the making of the Ghurkas and the drive to get into the famous British Armed Forces legion. 200,000 of them were sent to war during the two major conflicts and of those, some 60,000 were killed. This fly on the wall piece follows the recruitment of Nepali wannabes whose sole aim is to get into the brigade - despite the extremely rigorous and matter of fact training. Motives include family pride and money but the fact the contenders aren't given names or history makes for an intriguing experience - you're not saddled with back story and the desire to get to know them and end up watching with a curious detachment as this rigidly factual piece plays out. Subtly shot and an interesting insight into a world oft glimpsed, Who Will Be A Ghurka is the kind of reality doco which is non-sensational and honest.



The Human Scale is a film about people in cities and how their lives have been shaped by the world around them - and the continual up scaling of the cityscapes. It's a talking heads piece which takes a look at how some cities are pushing to turn the throbbing metropolis into pedestrian areas. Interviews take place in Copenhagen, New York and our very own Christchurch and look at how the megacities could ruin society It's a relatively straight piece which takes a little time to settle into a rhythm and is fairly loose with selective facts, but it's a fascinating look into the psychology of being a pedestrian and how urban design can shape our lives - and what can be done to change all that for the better. The insight into what Christchurch can do in the wake of the quake and how it's got a chance rarely afforded to other cities to start again is a real eye opener.

Which Way Is The Front Line From Here? is an HBO doco looking at the tragically short life of Tim Hetherington, who many will know as being one half of the Oscar nominated doco, Restrepo. It sets out its stall early on with a shot of Tim saying that the "role of witnessing comes with strong responsibility" - and it's clear that Sebastian Junger's piece is a honest, heartfelt, but never mawkish tribute to his former colleague. Tim was a tall, grinning, white guy who clearly stood head and shoulders above his subjects, but who was never above them in respect and grace. This fascinating piece intersperses past footage of Tim, with some of his shots and contributions from those who knew him. As an insight into what goes through an embedded journo's psyche, it's fascinating; as a look at what makes a human, it's unmissable. Powerful footage from war zones sweeps in with comments from all sides - and there's a strong poignancy to the final words from Sebastian Junger and the last sequences which show Tim's untimely demise. As Sebastian reveals, a Vietnam vet told him: "The core truth about war is you’re guaranteed to lose your brothers – and now you know everything you need to know about war" after hearing the news of Tim's death. Those moments feel almost intrusive, tragic and utterly soul destroying as they're set to a shot of the sun in a clear blue sky - this is an incredibly moving piece which encapsulates the reason some rush into horrors while others run away.


Blackfish is not, as some may have you believe or fear, this year's The Cove. Whereas The Cove was an unsettling look at the slaughter of dolphins in Japan, this is a shocking expose of the corporate negligence and unbelievable head burying in the sand of SeaWorld in Orlando, Florida. Focussing on the Orca Tilikum and the death, at his teeth, of trainer Dawn Brancheau, it's a stunning indictment of a company which pursues the lies and pushes the line that nothing's wrong with the Orca, which has now sired several other creatures within. Former trainers reveal the extent of their corporate brain washing and proffer up reasons for staying (to care for the animal) but no-one can avoid the core truth at the heart of this violence from the Orca. Purely and simply, it's about the captivity of the creature, the fact the male Orca is bullied by females and how neglect fuelled the inherent aggression within. It's a candid doco with a powerful message and a story simply told - but you shouldn't avoid this for fear of shots of animal cruelty. If anything, the humans are more badly treated than the captive creatures.


Pussy Riot: A Punk Prayer is the doco looking at the guerrilla guitarists and band who've been proving to be a thorn in Russia's side since forming in 2011 after the return of Putin to power. Swathed in neon balaclavas and lurid outfits, they're the complete opposite to the balaclaved thieves in recent outing Spring Breakers, but are no less effective. The doco follows three of the girls who are on trial after storming a cathedral last year and performing. But it soon transpires, by following the trio through the build up that it's actually more Russia which is on trial for all that's happened in the run up to, and including, the re-election of Putin. Straightly told, stylishly executed (with pop up social media early on) and concisely spliced together, this doco's verging on propaganda for the group (as it inevitably would) but also holds a mirror up to Russia, showing that the country's vastly split down the lines between Church and State - a fascinating peek behind the iron curtain which not many of us have access to and one which examines how the art of protest still lives on, despite the detractors who would rather it didn't.



Computer Chess is a meandering drama, that initially looks like a doco from the 1980s with its black and white monochrome aesthetics. It takes a while to realise this piece, set at a computer vs computer chess tournament at a motel, is actually an acted ensemble piece, given how strong some of the character acting and nuances are - it won't be to everyone's tastes but this film from Beeswax director Andrew Bujalski offers up something which is totally different and a slightly surreal trip.

The Act of Killing is an utterly extraordinary piece of film-making. It follows Indonesian death squad leaders and demands that they re-enact their killings from the 1965/66 coup. Specifically, director Joshua Oppenheimer takes in gangster Anwar Congo and his acts of genocide as well as other leaders in the movement and those who supported the murders from the sidelines. As a peek into the mindset and psychology of a mass murderer, it's actually quite chilling as those involved matter of factly discuss how they killed people, avoided the blood of many by using wire from a distance to slaughter and how they feel they're like gangsters from Hollywood films. It's completely shocking to realise what they've done, but what's even more shocking is how little they initially seem to feel about it all. Gradually though, Anwar begins to realise what he's done as this trippy piece, with its Hollywood re-enactments and lavish musical number nears its end. As they realise they're troubled by hallucinations and show some signs of remorse for what they've done, you begin to realise the strangest doco of the festival is also the most powerful, affecting and haunting.

Programmes for this year's New Zealand International Film Festival are now on the streets, so let the planning begin!

The New Zealand International Film Festival runs from 18th July in Auckland before heading nationwide.

The Lone Ranger: Movie Review

The Lone Ranger: Movie Review

Cast: Johnny Depp, Armie Hammer, Tom Wilkinson, Ruth Wilson, William Fichtner, Helena Bonham Carter
Director: Gore Verbinski

Hi ho Silver - and away!

For many, The Lone Ranger is an icon of the early years of pop culture entertainment. Thanks to the old radio serials, it had a presence which was undeniable and a charm which was potentially universal.

And now, thanks to the powerhouse team behind the Pirates of The Caribbean, there's a remake for the 21st century which tries to meld the family ethics of the Disney way of life with the wild west.

Depp plays Tonto, an American Indian spirit warrior, who's our guide in more ways than one in this journey as he recounts, from a travelling circus, how the Lone Ranger was born from the death of John Reid (Armie Hammer) and transformed into a masked vigilante of justice and a symbol of hope.

Reid is trying to avenge the death of his brother (played by James Badge Dale) at the hands of William Fichtner's bad guy Butch Cavendish, and finds himself out of his depth and in the middle of a conspiracy helmed by Tom Wilkinson's Latham Cole, who's out to take over the whole idea of the railroad, which is just being brought in.

The Lone Ranger 2013 is a little bit too much of a sprawling film with too much of a muddled messy plot to feel focused as it limps to the end of its line, after nearly two and a half hours.

Starting with Depp under layers of latex in 1930s San Francisco, it takes a while for the story to kick in as it flashes back to 1869 Texas. But Depp's Tonto is a wonderful creation, mixing mawkish sadness and channeling silent comics from yesteryear under cracked white face paint and a crow upon his head. In fact, Depp's relatively dry and dour delivery provides a lot of unexpected laughs early on and works as a wonderful foil to Hammer's drippy and wet behind the ears do-gooder, law-abiding DA, John Reid. In fact, Hammer hardly brings the Lone Ranger to life at all and pales in comparison and charisma to Depp's Tonto.


The sequence which introduces Silver, the spirit walker horse, really strives to bring the legend of the Lone Ranger to life and cause the relationship between the duo to soar above much of the rest of a muddled and average plot. Jokes about the true meaning of Kimosabe sit alongside some truly dark imagery (such as the slaughter of native Americans by the army and villagers cut down by the greed of some) and are an uneasy fit in the overall feel of The Lone Ranger movie. Helena Bonham-Carter's appearance in the film amounts to nothing more than a cameo and a nod to one of Rose McGowan's Tarantino roles and Wilkinson appears to be a little lost among some misplaced altruism before bringing the twirling moustache baddie to the fore.

A final set piece sequence on board two trains (and complete with the William Tell Overture) provides more thrills, spills, action and laughs than anything which has gone before as Verbinksi finally unleashes a spectacle which is astoundingly good - but it's a little too late in the piece as over 2 hours of confused and chaotic story telling have unfolded with nary a nod of interest. An expeditious edit of around 40 minutes could have helped this bloated piece achieve some kind of focussed story-telling.

While the comic beats and relationship between Reid and Tonto bring a lot to the screen (even if Reid is blown away by the at times surreal antics of Tonto / Depp's colourful performance), the rest is a little wanting - and leaves the 2013 version of The Lone Ranger somewhat lost and adrift at the winter box office.

Rating:

The Last of Us: PS3 Review

The Last of Us: PS3 Review

Released by Sony Computer Entertainment
Platform: PS3

To say Naughty Dog's latest title, The Last Of Us is the most anticipated title of the year is a massive understatement.

I've had preview time with the game, played beta levels and generally done everything I can with what's been around on this third person horror survival game. So it's fair to say that I thought I was prepared for everything with this game.

I was wrong.

In The Last Of Us, you take the role of Joel, a survivor fighting to get through day by day on an Earth which has been ravaged by the arrival of a parasitic fungus which has wiped out most human life. Any survivors who have been touched by the plant's spores have been turned into mindless killers and zombies whose one desire is to tear you apart. Or in the worst case of infection, they've become clickers, creatures whose heightened sense of sound means they use some kind of sonar to track you down - and then tear you apart.

As we start the game, the introduction sets things up nicely - in a way which is truly unforgettable. To say this game is harrowing is to sell it short. What it also manages to do is to grip you right from the very beginning of the title screens.

Cue 20 years later, and Joel's still trying to eek out an existence within the wastelands - slightly bitter, slightly mercenary but completely vulnerable bad ass, he's a gun for hire in some ways. Joel's approached to help get a fourteen year old girl, Ellie to safety across the quarantine zones and out of harm's way. So begins a major trek, which is not without danger, across parts of America. Infected humans, clickers (who use sound to track you) and fearsome human fighters all present dangers to your journey - and each choice comes with a consequence.

The Last Of Us is utterly compelling gaming - Naughty Dog's thrown together a story which is gripping, emotional and horrific as well as adding in gameplay which builds on those layers.  As you head through the various landscapes, there's plenty to keep you occupied; whether it's collecting bits and bobs to arm yourself or sneaking around trying to avoid runners and clickers, or taking in the stupendously apocalyptic scenery that Naughty Dog's created, there's a lot to do within the world.

Time needs to be spent collecting as well - whether it's to craft weapons to shiv the Clickers or improve on your rucksack space, you have to take some time to understand the skill levels of the game if you're to survive. Likewise, deciding whether fight or flight are the best motives are a key part to surviving after the apocalypse; and it's a smart person who knows when to run. Similarly if you're being pursued, spending time scavenging and looking for equipment and weapons is probably not the best strategy

Occasionally though, you can't wander as far as perhaps you would like with trees and bushes which would suggest depth actually proffering you a wall; and it's a frustration. There are a few of these moments through the game - sometimes, the Ellie AI means she gets in your way, enemies can be right on top of you without seeing you when you're in stealth mode (which is just unrealistic) and on a couple of occasions, runners I've been fighting have simply disappeared from the screen.

All in all though, these are very minor niggles in a game which truly raises the bar for what to expect from a deeply immersive and truly emotional experience. Playing The Last Of Us has left me drained - be it from the suspense of what's going on or emotionally because of the story. A developing relationship between Ellie and Joel is the real hook to this - and the real reason you will invest hours of your life in front of the console. Naughty Dog have put a lot of effort into the emotion and it really does pay off in great swathes as you power on through the wastelands of America.

I'm loathe to give away any spoilers on this game - as with any great film, the twists and turns are the narrative drawstrings which anchor this as something unique and original. But the elements of surprise in this game mean you shouldn't know anything more than the basics before you go in - strategies and hints will be discussed as will the places for collectibles, but the thrill of The Last Of Us is watching the cinematic feel unfurl before you.

The Last Of Us is an incredible experience on PS3. Grim, gritty, graphic, gruesome but never anything less than gripping throughout, it's delivered everything and more that it initially promised in its demos and within its concept art. It's one of the last great titles on the PlayStation 3 and if you're serious about gaming as an experience, it's one you simply cannot afford to be without.

Rating:

The Guilt Trip: Blu Ray Review

The Guilt Trip: Blu Ray Review

Rating: M
Released by Universal Home Entertainment

From the director of Step Up, The Proposal and 27 Dresses comes this road trip film featuring Barbara Streisand and Seth Rogen, who executive produced. Rogen is Andy Brewster, an inventor, who's created an environmentally friendly cleaning product and is about to embark on a series of pitches across America. When he calls in on his over protective mother Joyce (Streisand who was nominated for a Razzie for this) prior to the sales campaign, a moment of family revelation and a degree of guilt compel him to ask her along for the 8,000 km drive.

That's despite the irritant nagging and excessive worrying about his love-life.

So, in true road trip style, the pair set off on a voyage of (predictable) discovery with (inevitable) life changing repercussions.

The Guilt Trip is a road movie that's supposed to be comedy and drama. And unfortunately, it ends up being neither really. Low on comedy, the vehicle manages more middle of the road, pleasantly predictable bickering and squabbling telemovie of the week which is likely to see you (potentially) diving for the phone after and calling your own mum and realising that in amongst all the nagging over the years, she really does love you.

Rogen is downbeat to Streisand's pitched nagging (and unfortunately, she grates so much within the first 10 minutes, she becomes irritating) and whilst there are moments when the pair come to life (notably nearer the end, there just aren't enough of them throughout the 95 minutes of film.

Very minor interactions with a supporting cast don't add much to the mix or improve the dynamic between the main duo and whilst it's all perfectly watchable, it's simply nothing more than that. Which is a real shame, because as the credits roll, there are a series of improvised riffs within the car that are funnier than anything in the rest of what's gone prior.

A disappointing script leaves a real sense of what could have been for The Guilt Trip movie - and while Rogen and Streisand gel well together and have a reasonably realistic dynamic, the tank runs empty way too early, leaving you wishing this road trip had been canned.

Extras: Deleted scenes, a few minor bits and pieces

Rating: