PlayStation 4: Preview

PlayStation 4: Preview

Following the launch of the XBoxOne last week, it's all eyes on Sony to see if they can match it in Europe.

The PlayStation 4 has already launched in America, where it's sold around 1 million units and whipped many up into a frenzy. The console officially launched on Friday 29th November and has since sold out, but I had 48 hours (with sleep) to play with it and take a look at some of the titles around for the next gen launch.

The first thing to note (aside from the box having Watch_Dogs and Infamous Second Son on the back, which are not out till next year) is just how simple and sleek it all is. Clear cut, well defined and simplicity seem to be the modus operandi of the new console from its actual sloped physical design through to its on screen appearance - which sounds like a stupid thing to say but there's a clarity of performance which is evident right from the beginning.

The initial start up is simple - you basically plug in the PS4 to the TV and wall, and turn it on. That sounds like a bizarre thing to say, but there were no real updates/ downloads needed there and then to get it all underway; with clear blues on the screen and a simplicity of purpose. Simply move left and right on the screen or up and down; it's great that it means that if you've got kids screaming to get on with it, all you have to do is chuck a game in and you can play. Menus are quick and responsive and you can drill to exactly where you need to go in seconds.  (I'll come to downloading a game in a moment.)

The new DualShock controller is also an improvement. It feels beefy, chunky, almost driven to sitting in your hands. The major adjustment is the lack of a select / start option with just two buttons, Share and Options, sitting either side of the touch pad. It takes a little time to get used to that and there were times when I'd crunch the wrong buttons as I wasn't quite on fire. The Light bar is pretty slinky too; at various times, it flashes different colours, either during games or while you're in the Playroom. (More on that in a mo, too.)

Perhaps some of the nicest touches with the controller is the speaker within and the vibration - it's a lot smoother than before and doesn't sound like the old rattling that used to be prevalent in the prior DualShock. The speaker (and socket for using the headphones within) is a nice touch, making you feel a little more part of the game and more of the experience. A spongy set of L1 /R1 buttons add to the whole thing feeling more cushy - the whole controller's incredibly responsive with it feeling more in tune with the console rather than simply being attached to it. Nowhere is that more evident than in the Playroom, which is the area that relies on the PS camera, the controller and the touchpad.

Once you've gone through the relatively painless rigmarole of taking your picture / face-recognition software (I come to gaming to slob out not to preen and primp), pressing the touchpad releases the chance to play with the AR Bots. First up, you get the almost Terrahawks-like Asobi (a round spherical droid thing) which floats above your head. Tickling it gives giggles, and hitting it is not allowed (though I confess I did). There's also an option to play AR Hockey (needs two controllers) and the AR Bots themselves. Flicking and rubbing the touchpad activates the light bar which spews forth little droids onto your virtual floor and you can muck about with them.  It's more cute than purpose-led (even the blurb suggest there's no real reason for it) and recalls parts of the PS Move tech; maybe at some point, it'll be part of the gaming experience.

Talking of the gaming experience, let's get to that, as that's mainly what most people are coming to the PS4 for - and unfortunately, some of its major game changing titles which were promised for launch have sadly been pushed back until next year (Drive Club, Watch_Dogs) so it means there's a degree of launch titles not quite living up to the hype or offering a major title as a showpiece to demonstrate the console at its best.

But the biggest factor in these games is just how quickly they now load up on first use. It's clear the PS4 is a more grunty machine with some serious lag times being cut down to get you back into the gameplay rather than making you regret inserting a new disc. The titles I previewed loaded up quickly and painlessly, meaning there was less time waiting for updates and for scenes to play. (Bear in mind, these are previews, not reviews of the games, given time and console constraints)

First up, Killzone: Shadow Fall - and the first title to really showcase the depth and breadth of the technical steps the PS4 appears to have taken. A beautiful title sequence shows the sci-fi nature of this game as a sweeping shot takes in the world around a la Blade Runner - it's a breath-taking display of what graphically the console can offer. In terms of story, a wall divides the Helghast and Vektans after a massive war on a world far away - but the tensions between the two sides are palpable with various missions needing to be completed. Dark and gritty, Killzone: Shadow Fall promises to expand the Killzone experience and the sci-fi setting gives you access to a whole range of other weapons - including an OWL,a floating robot which can help tackle the enemy.

The other big title, exclusive to the PS4 is platform smack-em-up game, Knack. It's a perfectly charming little platformer where you play the titular Knack who's the last line of defence against the Goblins invading the world. As you go through levels, Knack, a collection of relics which can be assembled into a fighting force to take on the Goblins. Basically, the more power Knack gains, the more of a fighting force he is. It's got a heart and an ease that makes it simple to play and will find you going back and forth - particularly if the kids are interested in it. It's perhaps not the best title for showing off the PS4's graphics - even though the intricate details of Knack's being held together by bits and bobs give it a real sheen. It doesn't really initially appear to embrace the new tech of the controller, but it's got plenty of potential for solid gaming and also DLC potential.

The rest of the titles are already out there on PS3 or other formats- but the PS4's grunt and HD qualities have added a spit and polish to their look and feel which is suitably impressive if you have a big screen TV for gaming.

Lego Marvel Super Heroes is the latest in the LEGO franchise and it's a great cartoony riff on the Avengers and the Marvel Universe. It's good LEGO fun, which doesn't tax the mind too much and scores as you can control upto 150 characters with their own powers. The story's simple and the game's eminently playable - but it's the graphics on it which really excel. It doesn't look blocky (sic) and there's some real polish in this with things like Iron Man's gold sheen really sparkling in the HD rendering.

Assassin's Creed IV: Black Flag is the same as you'd expect from the recent release - except once again, the HD output is incredible and the visuals as you stand on top of a church surveying all around you or looking into the crystal blue water are just mouth-wateringly good; a sign that the next gen graphics are delivering more than what was promised.

Call of Duty Ghosts is an incredible next gen outing; again, it's the graphics which make it excel on the console - from the fighting through to the action, the frame work is eye-poppingly good and almost cinematic in its execution. It looks and sounds impressive, which seems like a bizarre thing to say, but given the high frame rate that it runs in and the frenetic pace of some of the sequences, I couldn't help but feel I was watching a CGI film - which is a real compliment for those involved.

All in all, the PlayStation 4 is off to an impressive start; sure, a lack of quantity of exclusive launch titles may dampen the spirits of some gamers, but the potential to surprise, impress and effectively blow our minds at some point soon is evident from the get go. The console's already sold over 1 million units in the USA and I can't see it being any less popular over here. Sure, there's not quite the depth of content yet available, but the machine more than delivers on the Greatness Awaits campaign - it's effective, sleek, fast and utterly impressive with what it has so far. The future is extremely bright for Sony's PS4 and I can't wait to see where it goes next.

Insidious: Chapter 2: Movie Review

Insidious: Chapter 2: Movie Review

Cast: Rose Byrne, Patrick Wilson, Barbara Hershey, Lin Shaye
Director: James Wan

Back in 2011, a low budget shocker emerged which took audiences by storm and grossed returns wildly beyond its budget.

That was Insidious, the story of a family whose child inexplicably drops into a coma and starts shepherding ghosts through astral channels. That ended in somewhat of a cliffhanger with Patrick Wilson's Josh character being in peril and potentially possessed - much to the horror of his wife, Renai.

Insidious Chapter 2 takes up that story, directly after the end of the first; with Rose Byrne's Renai explaining to the police what happened to the medium who died in their home. Both Josh and Renai believe the spirits are still haunting them. Determined to rid the family of this horror, they set out to uncover the secrets which have been plaguing them - but soon, things start to go awry.

Insidious Chapter 2 seems to follow much of a similar pattern to the first film with Wan drawing out moments of creepiness for maximum effect, complete with a blaring soundtrack to point out that SOMETHING REALLY SCARY is about to happen.

The problem is that while the eerie and spooky atmosphere works for the most part of the film, the jolts are relatively expected and signposted that you're barely caught on the hop at all. Throw in some occasionally risible dialogue and it really works hard to ensure that you're not on side with it in the slightest. Byrne has little to do except wander about with her mouth permanently agog and the comedy ghostbusters who try to help solve the case are nothing short of irritating and unwarranted in their moments in the script.

There are cliched horror moments aplenty - a stolen glimpse of someone in white when someone turns their head, a piano playing with nobody around, stuff flies around a room etc, but somehow in parts, it seems to work. Add in moments which bring the dread you'd feel as a child in darkened homes, and it's got quite the chance to inveigle its way under your skin. The unsettling atmosphere which shows up from time to time during the chronological shifts back and forth in Josh's history work quite well and Patrick Wilson, along with some impressive make up, does slightly unhinged and on the edge reasonably impressively, with his impassive mug ratcheting up the dread.

It's just a shame that there's a horrendous sense of deja vu in terms of a lack of story / character development and some unanswered questions (such as why a ghost mother dresses her son up as a girl) which leave you scratching your head. Throw into that mix, the fact that you really do have had to have seen the first film to fully appreciate what's going on, and Insidious starts to become a franchise that's really only for its fans rather than open it up to wider audience. Plus a standard final act brings every cliche to the fore.

There are some elements and ideas which fire though - a netherworld that's populated by drifting spirits and it's a relatively well used take on the old trope of the haunted home with director Wan giving rise to some genuinely unsettling moments. The first film really fired because it tapped into a primal fear that parents have about their children; by losing that element this time around, it really does feel more like standard horror fare.

Though I have to confess, an ending which promises a third film (already in development) does nothing except leave me cold - if the Insidious franchise wants to move forward, it really needs to widen its scope, enrich its mythology and ensure the next one offers up something a little newer and fresher - or this tale of possession will forever by haunted by the promise it failed to fulfil.

Rating:

Cloudy with a Chance of Meatballs 2: Movie Review

Cloudy with a Chance of Meatballs 2: Movie Review

Cast: Bill Hader, Anna Faris, James Caan, Will Forte, Terry Crews
Director: Cody Cameron, Kris Pearn

Don't play with your food is a mantra dictated to children at meal times by parents, but based on the latest Cloudy With a Chance of Meatballs outing, it's going to be awfully hard to enforce.

This latest CGI outing sees Bill Hader return as inventor Flint Lockwood. Following the events of the last film where the gang managed to shut down his food producing machine, the FLDSMDFR, which was causing chaos in Swallow Falls. However, the machine's back alive and creating sentient food creatures which according to super inventor Chester V (Forte) threaten the whole world.

So, while working for Chester V's Live Corp (a company which thrives on inventions), Flint's given the job of going back to Swallow Falls to shut the machine down once and for all. Along with the gang from the first Cloudy, Flint sets out to save the day - but his ambitions to impress Chester could cause irreparable damage to his friends.

Cloudy With A Chance of Meatballs 2 is a case of good for the kids, less so for the adults.

With its bright vibrant colours, Jurassic Park world of food animals (Su-sheep, watermelophants, fla-mangoes, shrimpanzees et al) and occasional lunacy, there's enough to keep the young (and young at heart) amused throughout. The story's not exactly taxing and yep, as ever, there are lessons to be learned over choices you make as well as who you listen to in life when it comes to role models.

The animation is pleasantly done and a lot of work has gone into creating the world around it and the creatures within, with even the pre-credits claiming it's "another film by a lot of people", but there's a lack of real originality and smarts to keep the parents in the auditorium entertained throughout.

There's a zaniness initially which is confined to the sidelines and to visual gags but is soon absent once the main story kicks in, preferring instead to revel in the well-realised creature world and predictable story, complete with cheesy puns which the youngsters will adore.

Energetic and colourful, Cloudy With A Chance of Meatballs 2 does exactly what you'd expect it to - and don't be surprised if the kids love it for not playing with a winning but formulaic recipe.

Rating:

The Hobbit: The Desolation of Smaug: Live Premiere

The Hobbit: The Desolation of Smaug: Live Premiere

THE HOBBIT: THE DESOLATION OF SMAUG World Premiere Red Carpet will be streaming live on Tuesday December 3rd from the Dolby Theater in Hollywood starting at 2.30pm NZT.  

Red Carpet Coverage will include Peter Jackson, Martin Freeman, Richard Armitage, Benedict Cumberbatch, Evangeline Lilly, Luke Evans, Orlando Bloom, Stephen Fry and more.

It follows the worldwide fan event in November which saw stars of the show presenting scenes from the film and catching up with the audiences, ahead of the film's launch.

Peter Jackson's unveiled a first look at The Desolation of Smaug - well, a first look at theposter for The Hobbit sequel.

Benedict Cumberbatch is the voice of Smaug and it hits cinemas in December 2013.

So, wanting to fuel that fire even further, here's your first look at Bilbo in The Hobbit: The Desolation of Smaug...

The Hobbit: The Desolation of Smaug is due in cinemas in December 2013...

Here's a First look at the elf Tauriel.

The elf Tauriel played by Evangeline Lilly will appear in The Hobbit: The Desolation of Smaug.

Ender's Game: Movie Review

Ender's Game: Movie Review

Cast: Asa Butterfield, Harrison Ford, Ben Kingsley, Hailee Steinfeld, Abigail Breslin, Viola Davis
Director: Gavin Hood

Based on Orson Scott Card's book, Ender's Game stars Hugo star Asa Butterfield as Ender Wiggin, a youngster whose ability could hold the key to the survival of the Earth.

In 2086, the planet comes under attack from an alien race known as the Formic and their incursion nearly destroyed everything. It's under that foreboding that the International Fleet lives - and led by Colonel Hyrum Graff (a gruff, shouty Harrison Ford) the children of Earth are constantly being scanned to see if they have what it takes to help them end the war.

Enter young Ender Wiggin, a bullied outsider, whose fight back against a bully demonstrates the necessary tactical thinking sought by the Fleet and Graff himself. Two of Wiggin's siblings have already been thrown off the military programme for not being good enough - but the young Ender displays the brains and tactical skill-set needed to help the human race gain the upper hand.

Under the tutelage of Graff, Ender's enrolled into Battle school with others of his age and ilk, and trained to do what it takes to win the war - no matter what the cost. As Ender starts to display brilliance of thinking under the threat of attack, he starts to progress through the ranks - and Graff champions him, believing that he is their saviour.

But, at what cost to the volatile Ender, who's already displayed tendencies toward violence, believing the ends justify the means...?

Ender's Game is a slice of sci-fi, served with a large dollop of Full Metal Jacket style military training and Harry Potter Quidditchy antics on the side.

There are some nice meaty, grey, moral questions which bubble away in the film (but are left largely untouched, which is a real shame) - such as the treatment of children in wartime, the psychological effects of shaping young minds, pro-war/ anti-war sentimentalities to name but a few. Sadly though, these are jettisoned for long sequences of Ender being trained and schooled at Battle School, command class and the film's narrative and some of the characters suffer because of it. (Chiefly, Viola Davis' questioning pyschologist who simply disappears when the story decides enough is enough)

With some exceptionally well realised zero-gravity sequences, the film seems to blow all of its creative wad on making the space age look great (and it largely succeeds) rather than concentrating a little more on the human angle of the conflict which would have proved more engaging for the audience and provoked the grey matter. That said, the battle sequences in the simulations are an overload of technology, techno-babble and impressive FX, which look dizzying up on a big screen.

In terms of the human talent, Butterfield does sullen and conflicted reasonably well with some average dialogue and Ford is pretty much gruff and harsh as the stereotype of a military commander. The worst offender though is Ben Kingsley, whose legendary Mazer Rackham shows towards the end of the film. Complete with facial moko and the worst New Zealand accent I've ever heard (it starts in Kiwi, heads to South Africa before settling into Aussie territory), Kingsley's character is enigmatically introduced too late in the piece to gain anything other than guffaws at vocal crimes.

A totally abrupt ending, twist too late in the day and sudden tonal shift from pro-war to anti-war buffets the end of this film and completely shortchanges the audience. It's a shame the greyer moral areas and bigger questions are ignored in favour of an FX piece because Ender's Game has promise. However, based on poor US box office returns, despite there being other books written, it could be Game Over for this franchise before it's even begun.

Rating:

Newstalk ZB Movie Review - Enough Said, Delivery Man and The Bling Ring

Newstalk ZB Movie Review - Enough Said, Delivery Man and The Bling Ring

It's a rather positive week on ZB this week when I caught up with Jack Tame.

Reviewed this week were Enough Said, Delivery Man and The Bling Ring.

Take a listen below:

http://newstalkzb.co.nz/auckland/player/ondemand/1226220665-darren-bevan--movies-and-dvd

http://newstalkzb.co.nz/auckland/player/ondemand/1226220665-darren-bevan--movies-and-dvd

A Field in England: Blu Ray Review

A Field in England: Blu Ray Review

Rating: M
Released by Madman Home Entertainment

Ben Wheatley returns and puts the WTF squarely into the small screen.

In his latest, a black and white piece set in the Civil War in England, it's up to you to put together some of the many pieces of this puzzle as they warp out in front of your eyes.

Reece Shearsmith (The League of Gentlemen) stars as Whitehead, a coward avoiding the fighting going on just over the hedges and frustratingly out of sight (robbing us of context). Joined by 3 others, Whitehead falls in with a troop of ne'er-do-wells, who want to get to an inn just over the hill - however, their journey takes a strange turn when they stumble upon O'Neill (Michael Smiley) whose desire to use Whitehead to find something in the field threatens them all.

A Field In England is a trippy piece of civil war psychedelia, mixed in with some of Wheatley's trademark dark humour. It's also frustratingly short on answers and high on puzzles meaning every audience member will have an interpretation of what's going on exactly and while that's fun for debate afterwards, a lack of linear answers may prove a befuddlement too far.

Though it has to be said, Wheatley's style comes shining through once again - with trippy sequences after mushrooms have been digested and psychosis sets in via an electronic soundtrack, it's a visceral thrill to see it unfold even if you're not 100% sure what the hell is going on.

Reece Shearsmith provides some genuinely unsettling moments - and a combined slow mo shot of him stumbling out of a tent after a confrontation with Smiley's O'Neill may be lacking in answers as to what's just gone on following the screaming, but it's not lacking on menace and a general feeling of the disturbed. Some of Wheatley's imagery is haunting and disgusting but always memorable (not always for the best reasons.)

There's some bleak humour here too - a confession of one of the group who's dying centres on his infidelity to his wife and brings some laughs which are unexpected; that's the thing with A Field In England, Wheatley's jumped so far out of any box you may expect after Sightseers and Kill List, that he's to be commended for the fact this film is so damn hard to classify, put in a box and properly review.

Freeze frame shots recall Civil War poses, a soundtrack taking in songs from the time and music add to the setting, and a general feeling of unease and pure dread drip from the screen as the low level plot plays out to its maddening end.

A Field In England is an utterly WTF experience - and its perplexing nature provides the enigmatic riddle we need to puzzle over for years to come. Some of the best film is the stuff which can't be pigeonholed - and once again, Wheatley's done it; he's committed something unique and audacious to celluloid, something which defies expectations and which provides more questions than it does answers.

Extras: A Whole stack including interviews, commentary, influences and blu ray exclusives. An extensive and highly commendable pack

Rating: