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.
Warner Bros. Interactive Entertainment and DC Entertainment today revealed the launch trailer for Batman: Arkham Knight. With the highly anticipated game launching Wednesday, June 24, the trailer highlights what it takes to Be The Batman and features the recently released track “Mercy” from Muse’s seventh studio album, Drones, which debuted at Number One on the ARIA Album Chart last week.
Batman: Arkham Knight is based on DC Comics’ core Batman license and will be available on June 24, 2015 for the PlayStation®4 computer entertainment system, Xbox One, the all-in-one games and entertainment system from Microsoft, and Windows PC.
Batman: Arkham Knight brings the award-winning Batman: Arkham trilogy from Rocksteady Studios to its epic conclusion. Developed exclusively for the new generation of consoles and PCs, Batman: Arkham Knight introduces Rocksteady's uniquely designed version of the Batmobile. The highly anticipated addition of this legendary vehicle, combined with the acclaimed gameplay of the Batman: Arkham series, offers gamers the ultimate and complete Batman experience as they tear through the streets and soar across the skyline of the entirety of Gotham City. In this explosive finale, Batman faces the ultimate threat against the city that he is sworn to protect, as Scarecrow returns to unite the super criminals of Gotham City and destroy the Batman forever.
Win a double pass to see Disney•Pixar’s INSIDE OUT
From an adventurous balloon ride above the clouds to a monster-filled
metropolis, Academy Award®-winning director Pete Docter (Monsters, Inc., Up) has
taken audiences to unique and imaginative places.
In Disney Pixar's original
movie Inside Out, he will take us to the most extraordinary location of
all inside the mind.
Growing up can be a bumpy road, and it's no exception for Riley, who is
uprooted from her Midwest life when her father starts a new job in San
Francisco. Like all of us, Riley is guided by her emotions Joy (Amy Poehler),
Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness
(Phyllis Smith).
The emotions live in Headquarters, the control center inside
Rileys mind, where they help advise her through everyday life. As Riley and her
emotions struggle to adjust to a new life in San Francisco, turmoil ensues in
Headquarters. Although Joy, Riley's main and most important emotion, tries to
keep things positive, the emotions conflict on how best to navigate a new city,
house and school.
Thanks to Disney Nz, I've got 3 double passes to giveaway to go see DISNEY PIXAR'S INSIDE OUT, which hits June 25th.
Vocal Cast:Sandra Bullock, Jon Hamm, Allison Janney, Michael Keaton, Geoffrey Rush, Jennifer Saunders, Pierre Coffin, Chris Renaud
Directors: Kyle Balda, Pierre Coffin
Some would argue the best moments of Despicable Me were the gibberish spouting yellow bundles of joy and idiocy known as the Minions. Punctuating Gru's shenanigans with zany non-sequitur and frequently slapstick interludes, they were always likely to be the bigger draw. But a push to give them their own film would always be fraught with a feeling that what followed would be in danger of feeling drawn out.
So, Minions arrives with a certain weight of expectation with it, thanks to a great trailer that hinted at life BG (before Gru)
In this prequel, The Minions are on a quest to find a master as it's their lot in life. But a lack of a super villain to lead them leads them collectively into depression (ironically for a yellow race, they spend an awful amount of time being blue) so three of their kind, Kevin, Stuart and Bob, complete with teddy bear, set out to find them a new master and save their race. That search bears some fruit and after a trip to Villain Con sees them taken on by the villainous Scarlet Overkill (Sandra Bullock), who's determined to swipe the Crown from the Queen of England (voiced by Jennifer Saunders) because she always wanted to be a princess. So, Kevin, Stuart and Bob set out to make their mistress' dream come true.
Minions is more like Meh-nions. To be honest, it doesn't quite feel like there's enough plot or story to sustain the goodwill from the mischievous little tykes from the Despicable Me films (a feeling which becomes all too obvious as the final credits roll for reasons which would spoil), but more than enough to span a 30 minute cartoon. While transplanting them to 1960s Britain works in parts, keeping the trio front and centre of the action and keeping them straight rather than the Three Stooges yields mixed results. Nowhere is this more evident than when the film-makers keep heading back to the Antarctic-bound rest of the gang who are on hand to provide the brief, zany interludes we've come to know and love of the dungaree-clad minions. In fact, where Minions works best is in its out there gags and visual jokes which pepper the piece - from its French view of all the Brits being suited and booted gentry who spend their time swilling tea and looking down their snooty noses, to a great Abbey Road gag, there are some deft moments throughout.
But it's not quite enough to keep the older end of the audience as engaged as perhaps they should be - despite a retro British 1960s OST that packs the likes of The Who, The Doors and The Kinks to help conjure up the age of free love and hippy laissez-faire. Scarlett Overkill hardly appears and works only to serve the narrative rather than drive it along, much to her character's detriment. One set piece which sees the trio chasing the Queen as they race after the Crown packs in a visual inventiveness which is punchy and exciting, but there's far too little of this on show as Minions progresses. Ultimately, the kids among us will adore this - its gibberish core, bright colours and occasionally wacky sensibilities will keep them engaged throughout - but for my money, it's just not quite Despicable enough to have delivered on the promise the trailers gave. Rating:
Cast: Paul Dano, John Cusack, Elizabeth Banks, Paul Giamatti
Director: Bill Pohlad
"What if I lose it and never get it back?"
The latest musician to get the big screen treatment is Brian Wilson of The Beach Boys, but Bill Pohlad's film is anything but conventional for the most part as it juggles two timelines in Wilson's life.
Starting with the whirlwind ascent of the Beach Boys in the 1960s as they surfed the wave of critical success and popular acclaim, Little Miss Sunshine star Paul Dano is Wilson. As the film begins, Wilson suffers from a panic attack on a plane and convinces the rest of the band he's better suited to staying in the studio concocting their next album to fend off the Beatles' challenge.
Flash forward to the 1980s, and Wilson's in a car dealership where he meets Melinda Ledbetter, a saleswoman who has no idea who he is but is intrigued by his presence, his distance and his passion. The two strike up a friendship, but that bond is threatened by Dr Eugene Landy (Paul Giamatti complete with wig) who appears to have the best of intentions for Brian, but whose unconventional methods seem dangerous to Ledbetter.
Juxtaposing two timelines at two ends of Wilson's life is Pohlad's masterstroke in this flick that at times threatens to feel like a normal biopic as we witness his control under Landy and one woman's quest to free him from this abusive tyranny.
Banks is nothing short of incredible as Ledbetter, a soothing and tender presence that radiates warmth as she tries to negotiate the perils of the controlling Landy, even if there are moments when all she does is look aghast at what's going on. Her scenes with the older Wilson (portrayed by a distant and fearful John Cusack) have a compassionate heart that anchors the film and the pair work well together.
But it's Dano's sections as the younger and more experimental producer Wilson which impress as his troubled genius comes to the fore and the likes of Pet Sounds, Good Vibrations and God Only Knows come to life.
Scenes of working in the studio with the Wrecking Crew musicians are electric, evocative, and give an insight into the confusion he begins to feel as voices eat away at him, as well as recollections of his lack of self-worth due to his father's abuse. It's the sound which plays the greatest part here as Pohlad loops dissonant voices, music building to a crescendo and white noise to give us an insight into Wilson's state of mind and also the creative process. Studio sequences pursuing the perfect note to the horror of fellow Beach Boys take a poignancy as Wilson tries to give some form to the swirling sounds in his head.
Sensitive Dano brings a frailty to Wilson that gives you a feeling that he's likely to crumble at any moment, especially in scenes where he tries desperately to impress his bullying father with just a piano and God Only Knows. It's here that Dano conveys a level of pain and anguish that's heartbreaking and stands in stark contrast to Cusack's older portrayal of a man fearful of his guardian and broken after years of torment.
It's in these parts that the movie is the most successful as there are a few sections where it feels like more could have been made of it.
While the timelines intersect well, there's no introduction of how Landy came into contact with Wilson other than allusions to the Beach Boy's apparent 3 years in bed and treatment; equally, the rest of the Beach Boys are relatively blank canvasses (meaning the conflict with Wilson in the studio feels forced) as is Wilson's first wife, Marilyn. But these are minor niggles in a movie that really does its subject justice and re-states the case for the Beach Boys' musical legacy.
Love & Mercy is a surprising film, and believe it or not, thanks to Dano and Banks, it'll give you good vibrations.
In support of the release of Love & Mercy, Roadshow Films NZ have teamed up with the New Zealand Music Foundation – a unique charity going great things to change lives through music. To donate to this fantastic charity go to http://bit.ly/NZMFLoveAndMercy Rating:
Rating: M Released by 20th Century Fox Home Ent There's no ducking the metaphor - and the meta - in Birdman.
Michael Keaton soars as Riggan Thomson, a former cinema superhero known as Birdman, who left the role and is trying to reinvent himself in a new Broadway play that he's adapted from Raymond Chandler.
But Thomson's creative gambit and vanity is threatened by those around him and more specifically by the doubts that eat away at him and manifest themselves as the voice of Birdman, gnawing at his self-confidence and fuelling the seeds of uncertainty. Echoes of a past life haunt Michael Keaton and it can't be a coincidence that Batman allegories and allusions circle your mind as this thrilling piece that defies expectation and categorisation plays out. Keaton delivers a career reinventing turn and shows that after the glutty excesses of the likes of Need For Speed and Total Recall, there's still some fire in that acting belly. As he burns through the screen, Keaton's Thomson is a seething mass of uncertainty, awash in a world of self neuroses and in a world that blurs reality (Thomson appears to be able to channel his alter-ego's telekinetic super powers - although only it would appear for destructive intent and it's never witnessed by anyone else). But there's something iconic about this role from an Icarus-like Keaton - from the moment he stalks through Times Square in just his tighty-whities to his searing confrontation with Lindsay Duncan's theatre critic in a bar (a scene that feels slightly false given the critic's vitriol but is made all the more plausible by Keaton's acting), Keaton owns the stage and finally delivers something close to a masterclass in acting that should see him garner some critical plaudits. (A deliciously ironic meta twist that's part of the perverse joy of Birdman). Switching emotions from scene to scene, Keaton channels everything he needs for Thomson meaning you simply can't take your eyes off him. While the likes of Edward Norton as a temperamental method actor and Naomi Watts as an insecure actress on the brink of acceptance with Thomson's play soar in the early part of the film, they start to unfortunately take a back seat in the latter part of the movie. They fade away purely due to the power of Keaton's turn - although Emma Stone really delivers as the defeated and ignored daughter turned Thomson's assistant. Equally, a lighter Galifianakis as the show's producer and Thomson's agent, is a welcome mix to the ensemble.
Babel and 21 Grams director Inarritu also deserves plaudits for his direction. The whole movie feels like a camera is simply following Thomson from beginning to the end (which is likely to provoke much debate) and making the film feel more like a play than you'd initially expect as long takes and long shots prove to be the raison d'etre in this movie that seems to be commenting on Broadway, critics and actors alike. (The only scene to hit an unrealistic note sees Thomson confront Lindsay Duncan's theatre critic in a bar and let both barrels loose) Thrilling and completely fresh, Birdman is a soar-away success; Keaton's portrayal of a man simultaneously unravelling and also rising up is nothing short of incredible. Birdman is 2015's first true cinema experience; a film that commands your attention from the get-go it'll have you sitting bolt upright in the cinema and debating its artistic merits long after the lights have gone back up.
Cast: Carey Mulligan, Matthias Schoenaerts, Michael Sheen, Tom Sturridge, Juno Temple
Director: Thomas Vinterberg
"Bathsheba Everdene"
It's a bold opening statement from Carey Mulligan's heroine in this adaptation of the Thomas Hardy book from The Hunt director Thomas Vinterberg. But it's one which sets the stall out impressively and gives Mulligan a chance to shine as the Victorian heroine of the piece.
Through circumstance, Everdene finds herself the owner of a farm and attracting the attention of three different suitors; a gentle shepherd Gabriel Oak (Schoenaerts), her lonely and unhappy neighbour Boldwood (Sheen) and the jilted desperate Sergeant Frank Troy (Sturridge).
In adapting the novel for the big screen and today's audience sensibilities, Vinterberg has not taken his eye off the ball. Lushly shot, making the best of the occasionally desolate period settings, the sunsets and occasionally horrifying imagery (a haunting herding sequence early on being shocking), this Far From The Madding Crowd is a treat for the eyes and the mind.
Mulligan brings a stoic strength and moments of vulnerability to Everdene as the story plays out and the consequences of her triumvirate of suitors. But it's never entirely convincing when it comes to the chemistry between her and Schoenaerts as the love story builds in the face of such challenges, with scenes faltering as they head on their path. She intones at one point that "It is my intention to astonish you all" and that ethos could be applied to Mulligan who's never anything less than compelling as the feminist lead.
Subsequently another weak point is Sergeant Troy, a man who feels underdeveloped and whose actions probably felt more understandable among the prose but whose treatment on the screen suffers due to necessary narrative truncation.
But it's the heartbreak and sadness of Sheen's dignified yet tragic Boldwood that really hits the dramatic mark, imbuing each interaction with Everdene with a feeling that tears are never too far away and that a bittersweet life has left him teetering on the edge.
There's class riddled through this production though, with cinematography of the Dorset countryside, the costuming and attention to period detail shining all the way through, giving it a feeling of prestige.
Worth it for Mulligan and Sheen alone, this Far From The Madding Crowd takes a book from the 1800s and heaves a thrilling breath of cinematic air into it.
