The Babadook: Blu Ray Review

The Babadook: Blu Ray Review

Rating: M
Released by Vendetta Films

Prepare to find yourself a little scared by this new psychological horror from Aussie filmmaker Jennifer Kent.

Essie Davies stars as Amelia, a single mother on the edge; working by day at an old people's home and by night dealing with son Samuel (Noah Wiseman, who may make you think of Danny from The Shining) who claims to be battling monsters and is in trouble at school.

One night, Samuel chooses a book from the shelf for mom to read - the story of the Babadook, a mysterious creature that commands to be let in to the house. Traumatised by the story, Samuel's behaviour becomes worse as he believes the creature to be already here and promises to protect his mother whatever the cost.

Dismissing the story as fiction, Amelia tries to get on with life - but a series of events leads her to suspect there's a sinister truth in the story of the Babadook.....

Clearly an allegory for grief, loss and depression, The Babadook is a great psychological film that has a way of getting under your skin (for the most part).

The titular beast is a curious mix of shadows, the Gentlemen from Buffy The Vampire Slayerand something from primordial nightmares. Rarely fully displayed throughout the film (a wise move), it benefits from bringing sheer terror each time it harasses the increasingly frayed Amelia.

In among the suspenseful atmospherics and tension of The Babadook, there's plenty going on below the surface.

On the one hand, this is a story about a creeping malignancy affecting Amelia; a cumulative sense of shock seeping in after years of repressed trauma; a husband who died on the way to hospital to birth Samuel has given way to years of Amelia's withdrawal from life and connection to those around her; further fuelled by sleep deprivation from the fear of the Babadook and various things which go bump in the night around the drab house, Essie Davies is nothing short of plausibly brilliant as the harangued Amelia. With Samuel acting up, who wouldn't consider acting on their deepest darkest thoughts as the nights draw on?It's this kind of nightmarish universal scenario that Kent has managed to bring so visually and viscerally to life as the trauma reaches fever pitch and the film delivers a crescendo of unspeakably uncomfortable moments. Aided by single fixed point shots of the house's darker spaces and a soundtrack which ratchets its way under your skin, The Babadook is set to be one of the greater modern horrors - and with its Baba-dook, dook, dook hook a great new entrant into the pantheon of urban horror legends. (And particularly the scene where the story book appears to come to life remains a visual flourish and a creative touch which impresses)

But it's sad to say that the final section brings out the usual horror tropes - from The Exorcist to every haunted house horror (via way curiously enough of Home Alone). And it's this part of the film which is the most disappointing because up until then, there's a subtlety that's as rewarding as it is uncomfortable. A little easing back on that side of things would have proved more effective than any kind of cliched moments can deliver.

It's the terror within that The Babadook so effectively mines, a reminder that the best horrors tap into fears we've long held since childhood and demons that lay dormant within. It's the power of suggestion boosted to the max which holds the key here - and with Kent tapping into most of that throughout, it's an unsettling horror that may ensure you want to sleep with the light on afterwards.

Extras: Interviews, behind the scenes, short film

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The Trip To Italy: The Series: DVD Review

The Trip was such a phenomenal success that it was inevitable there would be a second serving of Coogan and Brydon's improvisational schtick.

Whereas the first was set in the relatively glum surroundings of the North of England, this latest sees the pair transplanted to Italy after Rob is asked to do a series of reviews of restaurants - in comparison to Coogan being the the writer of the first outing.

So once again, the duo with all their foibles and insecurities are heading out, trying to one up each other amid whimsy and reflection.

The Trip was a great film, a culinary travelogue that got to the heart of what made Coogan and Brydon tick, in amongst improvisational segments that felt natural and part of the banter of this duo.

Unfortunately, while The Trip to Italy is still a good film, it loses some of that freshness this time around with the impersonations and general misbehaviour feeling forced and a little shoehorned in in places. When the duo start their Michael Caine impressions, there's a feeling of deja vu that can't be shaken this time around.

Alanis Morrisette is the background music to this outing, and forms the backbone of a series of running gags but there's no escaping the fact this feels like a recycling of what's gone before. Maybe this time around, with Coogan seeming more melancholy after the show he was on in America is placed on hiatus and with Brydon's star in the ascent, there's a manoeuvring of Rob losing his way while Steve finds his heart again.

The scenery stands out and the splendrous nature of their jaunts are lost upon them, giving you the feeling they're a pair of spoilt brats in many ways. But the whole feeling overall of The Trip To Italy is a trip too far; with the ending hinting that a third outing could be on the way as the duo appear to be at a crossroads, you'd have to hope all concerned stand back and re-evaluate what made the first time around such a clever touch; because this trip is in danger of losing its passage to its final destination.

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The Hunger Games: Mockingjay: Part 1: Movie Review

The Hunger Games: Mockingjay: Part 1: Movie Review

Cast: Jennifer Lawrence, Josh Hutcherson, Julianne Moore, Stanley Tucci, Woody Harrelson, Elizabeth Banks, Philip Seymour Hoffman, Donald Sutherland, Liam Hemsworth, Sam Claflin
Director: Francis Lawrence

So, here it is - the beginning of the end of Suzanne Collins' trilogy.

Last time, you'll remember that The Hunger Games: Catching Fire ended with Katniss Everdeen (Jennifer Lawrence) being wrenched out of the Games of the Quarter Quell but finding that Peeta (Josh Hutcherson) was left behind, and that District 12 where she used to live had been razed as the rebellion began to take effect.

In this latest, President Snow (Donald Sutherland bringing a degree of absentee menace as the white-clad bad guy from afar) ramps up his campaign against the symbol of the revolution, Katniss, by decreeing all out war against the rebels and districts who have turned upon the Capitol.

Trapped in District 13 with her family, and finding herself part of the media war against the Capitol as Julianne Moore's president and the late Philip Seymour Hoffman's Plutarch push her to ignite the simmering embers of revolution. But Katniss finds that being the spearhead comes at a price - and her concern for Peeta trapped within the Capitol could threaten those plans...

The Hunger Games: Mockingjay: Part 1 follows up the relative action of the first two films with many deep (and occasionally powerful) philosophical discussions and demonstrations about the propaganda of war and the symbolic (and literal) weaponisation of revolutionary figure-heads.

Granted, there is very much the feeling that this funereal almost dirge-like movie is a dragged-out set-up for the final resolution and second chapter of Mockingjay as it negotiates the horrors of war and the post-traumatic effects on the survivors (our first re-introduction to the damaged Katniss sees her rocking back and forth, trying desperately to remind herself who she is and what's happened, scrabbling to retain some grip on a reality).

In among the rubble, and the strewn corpses of District 12's warzone, Jennifer Lawrence once again excels as Everdeen, as she frantically fights to try and keep the human cost front of her mind during the ongoing war and her assimilation into a revolutionary hero. Viewed in (almost) completion, this Everdeen has come far and Lawrence is able to harness the horrors as the debates take precedence over the action. (Perhaps, this almost depressing feel may prove too much for some). There's a harrowing quality to the ongoing plight, an acknowledgement that being the symbol can be overwhelming and an almost humanity to help through the overly demonstrated horrors of war - and Lawrence encapsulates those qualities of reluctance perfectly even channeling extremely dead eyes in several scenes as she becomes numbed to the reality of the world around her.

The romance is dialled down in this drab character-study based outing (that's almost as dour as the overalls worn by the inhabitants of 12; a far cry from the vibrant excesses of life within the Capitol) and unfortunately, Liam Hemsworth doesn't quite gel as much as perhaps he should. Philip Seymour Hoffman's Plutarch proves to be a welcome driving force for the film (and proffers up the conundrum of how his missing presence will be handled in the final outing after the movie's dedicated to him); Elizabeth Banks' Effie appears to be some kind of Land Girl prisoner of war and lacks the sparkle and Julianne Moore is relatively straight as President Coin who operates in a POTUS style as the strategies are espoused from within the bunker as the war effort readies itself.

At its core, The Hunger Games: Mockingjay: Part 1 is more a psychological tale of after-effects and the strategies of war. But there are patches which are doused with such a slow ponderous pace, you very nearly drift off before the Desert Storm style action sequence that sees the rebels trying to free the Tributes.

In among the exposition and expansion of the viewpoints, there's a good film lurking trying to break free of the embers, but there's not quite the urgency and perils of the prior outings (perhaps, in some ways, a blessing) in this almost mournful tale that works better as a completed first part than many other films split in two from their original tomes.

It remains to be seen if the closure is worth the build up; but in the words of famous polemic Tracey Chapman, The Hunger Games: Mockingjay Part 1 is an awful lot of Talking Bout a Revolution.

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LittleBigPlanet3: PS4 Review

LittleBigPlanet3: PS4 Review

Released by Sumo Digital

Platform: PS4

“Create, share – and above all, have fun”

It’s these seven opening words from Stephen Fry’s mellifluous narrator in LittleBigPlanet3 which set the tone for the latest iteration of the game, that defies you not to fall in love with Sackboy all over again.

Taking over from MediaMolecule, Sumo Digital have really seized Sackboy by the scruff of the neck, given him a little shake and scooped up all the goodies which fell out and thrust them on to the PlayStation 4.

With Stephen Fry back in the helm as the narrator, and long time partner Hugh Laurie voicing the baddie, Newton, of the game, it seems as if everything just fits together in this outing.

As the story goes, Sackboy is brought to the world of Bunkum under false premises by Newton. You see, Bunkum’s bereft of creativity after three demons were vanquished by three heroes of old. Newton’s determined to loosen this creativity with Sackboy’s help – however, while Newton’s intentions start off well, his subsequent possession at the hands of the demons doesn’t really help matters and soon he’s hell-bent on destroying Bunkum.

Thankfully though, your little cloth sack friend is back on the scene to try and save the day – only this time, he’s got some friends to help him in the form of Bunkum’s retired heroes.

These are Odd-sock, a lolloping dog like creature that runs up walls; Toggle, a creature that can change size at will to help get into any situation and Swoop, a bird that flies through levels. The trouble is those three have lost their marbles – both literally and figuratively – so Sackboy has to help them recover those first before the heroes can band together and save the day.

Despite moving studio, LittleBigPlanet3 has lost none of the compulsive joy that was so overwhelming in the first two outings; in fact, in some ways, this latest surpasses their magic.

As you’re zipping around levels – either solo or with online friends / co-op buddies (a prompt comes up on every level telling you there are other Sackpeople in the game to join), there’s more than enough to do and see. Using a nifty 3D way of gaming, you can play in the foreground and background by utitlising the bounce pads back and forth. Also, because it’s the next gen console, there’s a lot more scope for side quests as you bump into other citizens of Bunkum – and to keep a track on this, the creators have made the Organiseratron which tracks quests and missions.

There are also some “tools” (as if there’s ever such a thing as weapons in LBP world) to help you get to trickier places and into the nooks and crannies of Bunkum’s world. From a hair-dryer style Pumpinator that sucks and blows to a helmet which attaches to high wires, (all of which can be stored and equipped from your new Sackpocket), the depth of the creativity on screen matches the off-screen community which has created some 9 million worlds for the games.  And Sackboy himself is more versatile than ever, with the little cloth critter being able to scale walls like some kind of fluffy spider being one of his new skills.

Aside from the adventure mode, there’s the creation of levels which is boosted by some 70 new tools, collecta-bells which can be spent in a shop run by a character called Zom Zom and which boost your wardrobe and the ability to use the touch pads on the PS4 as well as the Popit Puzzle Academy where you learn new tricks of the trade and tools to help you through.

That said, LittleBigPlanet3 is not quite perfect. 

I’m hoping the glitches I’ve discovered are simply bugs of the release which will be ironed out with the Day One patch – but in a few cases, Sackboy disappears into solid blocks on screen making movement difficult and also nigh on impossible, meaning a level reset is needed. On a few of the checkpoints early on, Sackboy’s been respawned only not to show on screen, meaning a reset is re-required which is a frustration.

The biggest issue I’ve faced so far though is the loading times; there seems to be an unholy amount of time spent with the waiting screen to move on its merry way to let you get to the gorgeously created and beautifully sumptuous platforming world within.  And there’s no consistency either – these wait screens seem to crop up sporadically and will put a crimp in the play time you invest in the game.

It seems churlish to pick out a few bugs on a game that’s essentially so joyful and creative

(I’m planning to get another post done once the community really kicks in for this game and starts to take it to their heart) but it's fair to say there are a few here and there.

At its core, Sackboy’s latest LittleBigPlanet3 is eminently playable, cutely addictive and a massively welcome addition to the next generation of gaming – if you’re serious about platforming, love fun in any form in the gaming world, then LittleBigPlanet3 is an essential purchase, a mirthful mix of cute, creative and downright enjoyable fun for the kids of whatever age.

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Lords of The Fallen: PS4 Review

Lords of The Fallen: PS4 Review

Platform: PS4
Released by

Hack and slash gets a medieval entry in the form of Lords of the Fallen from German developer Deck 13 Interactive.

Set in a world where no sin is forgotten thanks to them being handily marked all over your body, you play Harkyn, a convicted criminal who's given another chance for redemption.

Gloomy and quite difficult to negotiate your way around initially, Lords Of The Fallen is a game which rewards patience and investment in Harkyn, its world and its character. Early tutorials may take a little time to get into if you're after a quick fix and there's no denying that there's a lot of darkness on display which makes finding things quite a difficult task to start off.

But the feel of Lords Of the Fallen is one that really works - each conflict and attack as you wield your shield and sword feels weighty as the blade falls on your enemy. It's also not a quick fight either with most enemies needing a bit of time to be beaten and a little effort rather than simply pressing the same buttons over and over again. Killing enemies gains you XP as well and powers you up to ensure you're ready for the next attack and all that it brings.

As you wander around the castle, there are audio scrolls located about which help you to get a sense of the world within and offer up some form of story telling which is lacking throughout the rest of this game that has parallels to Dark Souls.

Sadly though, it also relies on the old RPG adage of choosing conversations with other characters and it's here that potentially the game unspools a little as it makes you choose turgid nonsensical questions and answers to get through the elements. Really, these could have been jettisoned as it's rare that it actually adds to the feel of the piece.

All in all, Lords of the Fallen feels somewhat slow and takes a lot to get into - if you're a fan of the genre, you'll be impressed. If not, you may find your patience sorely tested.

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Amazonia: Movie Review

Amazonia: Movie Review

Cast: A capuchin monkey, the rain forest and all that dwell within
Director: Thierry Ragobert

A plane crashes in the forest, the sole survivor is trapped in a cell, but makes an escape - only to have to traverse strange foreign climes with no idea of what danger is lurking around the next corner.

It all sounds very familiar, doesn't it?

Yet this film has a unique MO to a tale which is all too familiar - its protagonist is a capuchin monkey with the most expressively natural face committed to celluloid in a long while. (Discounting those damned dirty apes from San Fran earlier in the year or since Marcel annoyed Ross).

With nary a line of dialogue and only the natural parameters of the Amazonian rain-forest and all who dwell within to bring it to some form of vivid life, Amazonia is an interesting hybrid of survival story and nature documentary.

From toucans hurling discarded half-eaten fruit at the monkey to various bugs filmed in extreme close up, Ragobert's created something wildly unique and at times, strangely compelling, as the monkey's story is crushed into the usual survival tropes and human type situations.

It's the lush contours of the Amazon rain forest and the life within which makes Amazonia worth your time; younger audiences will be enlightened by this foray into a microscopic world we're unlikely to experience - and older adults will be impressed at its brevity, if they can stomach the pro-environmental message that is threaded through.

All in all, Amazonia works as a window into a world we're unlikely to glimpse and for an animal star who's likely to delight and amuse as he takes on his most dangerous role ever.

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The Two Faces of January: Blu Ray Review

The Two Faces of January: Blu Ray Review

Rating: M
Released by Sony Home Ent

From the author of The Talented Mr Ripley, Patricia Highsmith, comes a new thriller, that's a three-hander.

Set in 1962 Greece Isaac stars as Rydal, a conman travel guide who spends his time ripping off tourists under his guidance while making his way through the ruins. One day, while guiding a group around, he sets eyes on Mortensen's wealthy Chester MacFarland and his wife Collette (Dunst) and is immediately beguiled by this duo in their crisp cream suits, imagining this is a scam he can pull off.

When Rydal later tries to return a bracelet left by Collette in a taxi, it's a chance meeting that changes all their lives after he discovers Chester's murdered a private detective who's tracked him down amid global fraud charges.

Suddenly, all three of them are on the run - and a rivalry begins between Chester and Rydal over the affections of Collette, which leads to an incredibly dangerous game of trust....
The Two Faces of January is a thriller that's slightly aloof, and not quite as psychologically thrilling as it could be thanks to a lack of chemistry between Dunst and Isaac.

As the inexorable journey towards a predictable denouement continues, Amini wisely chooses to spend the time piling on lashings of Greek tragedy and literary allusions - but at the cost of really building any true suspense between the leads in this tale of extortion, blackmail and framing.

Mortensen delivers a relatively solid performance as MacFarland falls apart under the pressure as his shifty past comes back to haunt him; Isaac impresses as Rydal, a man whose emotional baggage is continually hinted at (albeit in an occasionally heavy handed touch) and Dunst seems to sleepwalk through the piece as the romantic interest that's more third wheel than wedge between the lead protagonists.

The problem is that as the story unfolds, it's more the locations that leave a lot more in your mind than what else is on the screen. There's a fatal lack of tension, paranoia and suspense in the proceedings, leading to a highly indifferent attitude as it speeds to a conclusion. It's due in part to the characters feeling so aloof that you're never quite invested in Rydal's quandary as the implications of his actions become more evident.

While Amini may have delivered a literate thriller and one that's languishing in its own lavishness of locations, The Two Faces of January feels more like a piece which doesn't quite hit the emotional moments it needs to quite pull off the Hitchcockian noir elements it's clearly trying to channel.

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