At Darren's World of Entertainment - a movie, DVD and game review blog.
The latest movie and DVD reviews - plus game reviews as well. And cool stuff thrown in when I see it.
Please find below links to today’s video highlighting the extensive enhancements made to Grand Theft Auto V in its transition from the PlayStation 3 to the PlayStation 4. Grand Theft Auto V on PlayStation 4, Xbox One and PC has given us the chance to harness the power of these platforms to improve every aspect of the game. In addition to the all-new First Person Mode revealed yesterday, this means big technical changes like increasing the overall resolution and more than doubling the draw distance, as well as replacing every texture in the game and much more.
See more information on the new generation upgrades here
Grand Theft Auto V is available for PlayStation 4 and Xbox One on Nov 18, 2014 and for PC January 27, 2015.
Grand Theft Auto V: First Person Experience unveiled
Presenting Grand Theft Auto V: First Person Experience, the first footage of the new first person mode available exclusively in the new versions of Grand Theft Auto V for PlayStation 4, Xbox One and PC. This new mode shows players the host of changes made to the game to accommodate this new perspective, including the creation of an optional first person cover system, a new targeting system, a more traditional FPS control scheme, and integrating thousands of new animations into the existing game. It's also available at the touch of a button so you can easily switch back and forth between perspectives.
First person mode will be available in both GTAV and GTA Online.
Grand Theft Auto V for PlayStation 4, Xbox One and PC features hundreds of additions and enhancements including 1080p resolution at 30FPS on PS4 and Xbox One (4K compatible on PC).
Grand Theft Auto V for will be available on Xbox One and PS4 November 18th, 2014 and on PC January 27th, 2015.
Rating: M Released by 20th Century Fox Home Ent After six previous X-Men movies, including a recent reboot of the series with a younger cast, X-Men: Days of Future Past arrives at a time-bending moment for the series, complete with a return from one of its most famous directors.
Set in dystopian future where the robot Sentinels are hunting down the mutants, eradicating them and any potential humans who could possess the mutant gene, the pressure's really on forProfessor X (Stewart) and Magneto (McKellen). They've joined forces to try and prevent their kind being wiped out in a scheme which could only have come from the comic book 101 of time travel.
Deducing that if they go back in time to 1973 when Mystique (Jennifer Lawrence) was about to assassinate Boliver Trask (the man responsible for the Sentinels programme), they can prevent this future from ever happening. So, Logan aka Wolverine (aka Hugh Jackman) is despatched back to the past to try and save the day - but Wolverine's got bigger problems on his hands because his trying to unite the younger Professor X (MacAvoy in self-loathing, drugged up phase) and Magneto (Fassbender) comes at a time where the pair couldn't have been more apart...
X-Men: Days of Future Past is the X-Men movie that many of the fans have been waiting for.
Stripped free of necessary exposition and explanation of the characters, Singer's deft and pacy return to the genre sees a return to the comic book action and rich emotion, which has appealed to so many (but may leave some non-fans feeling a little alienated this time around.)
Sly humour permeates parts of this action movie that teeters dangerously close to pompous sci-fi at the start. Singer brings all the players together well and adds in a few new elements to show he's still got the mutant sparkle that's needed - a dazzling sequence which shows off American Horror Story star Evan Peters' turn as Quiksilver is the pure highlight of the whole piece. Using the faster than light flippant kid to break out Magneto from under the Pentagon (where he's been imprisoned for assassinating JFK) is a master stroke of Singer's - during one brief sequence alone, Singer brings the joy back into the superhero genre which has wallowed in dour for so long. As Quiksilver takes on the prison guards in a light speed slow-mo sequence, there's slapstick, danger and amusement in high dosage. (Though the real headscratcher is why such a valuable asset be left behind on a key mission...) Also, Singer does a great job of introducing a stand out new character into a crowded ensemble.
Which is perhaps just as well, because the older versions of the X-Men themselves are a little sidelined in the piece, with the danger never quite reaching the high stakes you'd expect. It's curious because given they face extinction, there's very little for them to do after a high-octane opening. And it's a shame given the calibre of talent involved, but when the story is as stuffed as it is, something has to give. Equally, some kind of explanation as to why Trask is so opposed to mutant kind would be good - despite Game of Thrones star Peter Dinklage playing him to perfection, a murky motive is never forthcoming. And the final end sequence becomes a little heavy handed and cluttered to have too much resonance for such an iconic comic book arc.
Thankfully, though, these niggles do not come at the cost of the action, which for 7 films in adds new set pieces to entice and impress throughout. Of the X-ensemble, McAvoy, Fassbender, Lawrence and Jackman more than deliver on their characters, with each adding to their past outings. Equally, the script gives nods to the fans but doesn't alienate those willing to work through the elements of past movies.
All in all, X-Men: Days of Future Past is an X-Men movie for fans to savour; while the stakes have never been higher for the series and its characters, director Bryan Singer doesn't lose sight of the smaller, more intimate moments to provide a blockbuster spectacle that's as spectacular a winter blockbuster as you'd hope for.
(Make sure you stay to the end of the credits, to witness the first look at X:Men - Apocalypse, and your first chance to see the original mutant, En Sabah Nur....)
The story of Universal Pictures and Illumination Entertainment’s Minions begins at the dawn of time. Starting as single-celled yellow organisms, Minions evolve through the ages, perpetually serving the most despicable of masters. Continuously unsuccessful at keeping these masters—from T. rex to Napoleon—the Minions find themselves without someone to serve and fall into a deep depression.
But one Minion named Kevin has a plan, and he—alongside teenage rebel Stuart and lovable little Bob—ventures out into the world to find a new evil boss for his brethren to follow.
The trio embarks upon a thrilling journey that ultimately leads them to their next potential master, Scarlet Overkill (Academy Award® winner Sandra Bullock), the world’s first-ever female super-villain. They travel from frigid Antarctica to 1960s New York City, ending in mod London, where they must face their biggest challenge to date: saving all of Minionkind...from annihilation.
Cast: Matthew McConaughey, Anne Hathaway, Michael Caine, MacKenzie Foy, Jessica Chastain, Matt Damon
Director: Christopher Nolan
Pompous, po-faced, ultra-serious and disappearing up its own 5 dimensional ass over an extended run time.
These are all accusations that can be levelled at Christopher Nolan's highly anticipated new film, Interstellar, starring Matthew McConaughey as a pilot-turned-farmer-turned-astronaut, who heads to space to save the planet's future. (The Earth's barren, remote and dying after nature turned on us in the biggest uprising since those plants had a chat with Marky Mark in The Happening)
But in doing so, you also have to counter with the words dizzying, visual symphony, mesmerising, intelligent and awe-inspiring - as well as a lesson in quantum physics and wormholes that potentially even Stephen Hawking would have fun taking a look at.
Dialling down his Texan swagger but upping his considerable charm to help him spout cod trite bon-mots over how we used to look to the stars but now stare down at the ground, McConaughey's Coop and his relationship with his daughter Murph (played in early years by MacKenzie Foy and in latter by Jessica Chastain) prove to be the much-needed and occasionally absent emotional centre of this extended space-operatic meditation on love across the dimensions.
In this three hour space-set epic (that occasionally lags back down to earth), Nolan's crafted something of a scale that's reminiscent of the 70s Kubrickian look and feel of 2001: A Space Odyssey and recent Oscar-winning outing Gravity; the space interiors are a pristine dirty white and feel realistic (as if some kind of NASA video training programme) as Hans Zimmer's occasionally OTT organ-based and Tubular Bells-reminiscent score blasts from the IMAX screen, building to a crescendo as Nolan tries to orchestrate drama on earth and in space.
Along with various intonations of Michael Caine spouting Dylan Thomas' "Rage against the dying of the light" and him decrying that by the time Coop returns he "will have solved the problem of gravity", there's a danger that the script pitches its way into an overload of drama as the cod philosophical musings reach a feverish level about two thirds of the way in. To say more is to reveal spoilers and the Nolan MO is to gradually leak out moments designed for hysterical detonation as they all converge and for the internet to dissect at a later stage.
However, in among all that heavy sci-fi exposition and relativity jargon that's espoused on screen (which demonstrates how much research Jonathan Nolan did on the subject), there's a truly wondrous spectacle to behold in Interstellar.
The space scenes provoke much awe and wonder in a mix of 35mm and 70mm IMAX as the crew (along with wise-cracking robot) negotiates a black hole in a manner akin to what we witnessed back in the 1970s - but it's the emotional scenes where the McConnaissance continues and which give Interstellar its heart and soul that's lacking elsewhere in the film due to underdeveloped characters who merely orbit his Coop (no worse offender than Casey Affleck's son who barely registers - and Anne Hathaway who delivers a terribly corny speech about the values of love from high above.)
A scene where Coop views 23 years of recorded messages from his family and Nolan fixes on his tearful visage is a moment which defies you not to finally feel something as the survival instinct and sentimental love for the family finds its much needed footing (something which is left floundering in parts due to lengthy exposition and little else). It's McConaughey who carries this mission without a shadow of a doubt as Interstellar goes beyond its pro-space race / pioneers message (even taking on the theory the Moon landings were faked) and into matters of the heart and abandonment, albeit with varying degrees of success.
You can't deny Christopher Nolan's ambition with Interstellar - even though what transpires is a flawed masterpiece in many ways that reignites a nostalgic passion so lost over space exploration and yet so steeped in hokum.
But you be wrong to ignore the fact Interstellar is an exhilarating masterpiece that delivers a lot to ponder on (despite its predominantly gooey centre, potentially polarising play-out, occasionally cold core and out-there ending) and proffers up a thoughtful philosophical space-age opera and event movie that's surprisingly grounded in matters closer to earth than the stars above us.
Cast: Bradley Cooper, Jennifer Lawrence, Toby Jones, Rhys Ifans, David Dencik, Ana Ularu
Director: Susanne Bier
Bradley Cooper and Jennifer Lawrence re-team after the success of American Hustle and The Silver Linings Playbook in this Depression-era set tale, taken from the book by Ron Rash.
Cooper is George Pemberton, the owner of a timber empire, who's dealing with the possibility that his empire is being threatened by plans for a national park. However, there's a ray of light when he meets Serena (Lawrence) and decides they will be married.
Once the daughter of a tree empire owner, Serena proves to be very much Pemberton's equal in business and in love - but her arrival into the Smoky Mountains proves to be polarising, particularly when a former lover of Pemberton's and their illegitimate child comes back into the spotlight.
Serena aims for melodrama among the mountains, but ends up feeling like a melodrama with a muddled Mills and Boon pastiche thrown in for good measure.
The film's sat languishing on the shelf for a couple of years (it was shot before American Hustle) and while Cooper and Lawrence have that trademark chemistry, the adaptation of the book just fails to ignite any cinematic spark or drama that would have been inherent.
The whole feel of Serena is one of a mournful tale, from a long opening sequence of smoke hanging around the misty mountains to the simmering tensions and jealousies within, there's clearly enough material to make this work, yet it never quite takes off and soars into the drama that it clearly wants to be.
Part of the problem is that the revelations and actions of the third act feel forced in and don't resonate as perhaps they should; character motivation is simply shoe-horned in and never really feels plausible as the ideal passion-filled marriage apparently disintegrates.
Equally, the leads fail to really hit the notes needed for their characters; Lawrence feels oddly miscast and while she looks the part (all porcelain white face and crimped blonde bob), she lacks the usual subtlety needed to reach some of the emotional and psychological depths needed as she goes from sweetheart to Lady MacBeth. And Cooper reaches for dramatic but seems to be more sleep-walking than anything in this. Even an unrecognisable Rhys Ifans as a vengeful Golem-type character fails to hit anything other than a dirge.
While the film's beautifully shot, with the community at logger-heads over the foresting issue, there's a feeling that the haze in the mountains has also settled on the director and her cast in this over-cooked adaptation, which dulls more than dazzles thanks to a distinct lack of sympathy for the leads.
