Godzilla PS4 Review

Godzilla PS4 Review

Platform: PS4
Released by Bandai Namco games

Godzilla.

The mighty name, the iconic monster and the symbol of destruction gets his latest outing on the PlayStation 4.

But sadly, it's not exactly a cerebral offering to challenge the core dynamics of the creature, which is to simply smash and grab everything around him. Doing so garners the creature a degree of G Energy, which helps him grow and gain mass as he unleashes his own unique level of destruction on cities around. Gaining in mass and letting loose with his toxic bad breath, this is a Godzilla that's really only about the destruction and little else.

Unfortunately, it ends up feeling something a little akin to Street Fighter or Tekken as you just smash and mash buttons to achieve various combos. Controls are simple but somehow manage to be difficult - and what should be easy to control becomes a bit of a behemoth - and it's clumsy to say the least.

There's no grace in the fighting, no chance to shift targets or to lock on so the whole thing becomes a bit of a crap shoot with varying degrees of success and growing levels of frustration.

Graphically, the game gets the look of the Kaiju spot on and that's perhaps the one thing where this Godzilla excels - it's lovingly crafted towards fans of the beast, even if the gameplay leaves a lot to be desired.

Godzilla may smash things and lack finesse but this latest update of the classic creature sells the creation short - it's not exactly the best iteration of what could be done and granted, it goes for the core dynamics with simply smash and bash, destroying everything in its path - but it's ultimately soulless, a raging monster that screams to no effect.

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F1 2015: PS4 Review

F1 2015: PS4 Review

Platform: PS4
Released by Codemasters

The latest iteration of the F1 franchise doesn't deviate from the track or from its intentions.

It's there simply to give you another view of the Formula 1 racing season and to put you in the driving seat of the action once again.

And quite simply, it is the full experience. From practice laps to checking out stuff in the garage and tinkering away, this is your chance to be whoever you want to be in the series. Got a penchant for Lewis Hamilton? Fine, indulge away in the Championship season and off you go.

That's really the thing with F1 2015 - it speaks to fans but also to those who simply want to get in the car and drive off with it all. With rewinds you're able to simply take the error off and play again - some say that's for cheats, but for the less experienced of us in the game, that's more a chance to soar than anything else.

From cockpit views to overhead views, the racing's the main thing here - and while the tracks look good and play well, there's little to admire in the design of them and little crowd interaction for you to be involved in. After all, aren't you supposed to keep your eyes on the road?

The core driving mechanics are simple, the graphics are crisp and the game play is exactly what you'd expect from a game that goes round and round - but the real test of the game comes in Pro Season, where the game must be mastered on its own terms. Difficult to say the least, Pro Season is perhaps something to aim for; a raison d'etre for the drivers who come back time and time again, what with enforced cockpit mode, no help on the tracks and certainly plenty of decent talent to face off against.

While it didn't exactly rock my world, this racing sim is still very impressive; a sign that Codemasters is continuing to tweak its output for its fans' expectations to be met - while the online needs a little work ( it takes a while to find a match), the off line mode and championship season are pleasant enough fun to justify this annual investment.

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NZIFF - Bill Gosden's 2015 exit interview

NZIFF - Bill Gosden's 2015 exit interview

With the 2015 New Zealand International Film Festival wrapped in both Auckland and Wellington, you may think the frivolities are done and dusted. But the festival's now heading around the country with an indefatigable number of films and still lots to see.
I caught up with festival director Bill Gosden to get his thoughts on this year's bumper festival - and record attendances.

Hi Bill, how’s it going? Surely you must be flagging now?
Some exercise, other than dashing between venues, is required to pep me up at this point.

Festival director Bill Gosden at the Christchurch NZIFF launch, 2015

We’ve ended in Auckland and Wellington, how’s it been for you this year?
Mostly great – from the moment, twenty minutes into Auckland’s opening night screening, that I knew for certain that The Lobster’s perversity was even more entertaining with an audience of 2200 than with an audience of five.

Is it my imagination or have you added a lot more extra showings of films this year – you’ve practically commanded another week in Auckland? 
It’s an upside to DCP. Responding to public demand was never easier.

It’s been an exceptional year in terms of diversity on the programme, has that equated to more bums on seats?
Yes. We are looking at best-ever attendances in Auckland and Wellington, and only a handful of under-patronised films.

What have been the box office highlights this year?
The Lobster, The Assassin, Wolfpack, Amy, Sherpa, 45 Years.

What have been the films that have surprised you in terms of numbers?
Peggy Guggenheim, The Colour of Pomegranates, Banksy Does NY

Conversely, which films do you wish more Aucklanders and Wellingtonians had got to?
Above all Lonesome with an exhilarating new score from James Milne and friends. It was the great one-of-a-kind event of this year’s NZIFF. I believe the spectacular Embrace of the Serpent will continue to find its audience, but I wish more people had had their first encounter with it at The Embassy or Civic.  I’ll be ending my own NZIFF attendance this year by seeing it in the fabulous new setting of the Isaac Theatre Royal in Christchurch.

With the regions now launching, which films are you confident will translate well around the country?
Sherpa, 45 Years, Crossing Rachmaninoff, Ex Machina…

Which films have you snuck into and enjoyed under the auspices of audience research? (I know I sat next to you in Amy, apologies if I fidgeted too much….)
Next time I’ll sit away from your note-taking arm. In Auckland I also saw Tale of Tales, the first film ever stolen by a flea, and the eerily sleepy Cemetery of Splendour.  The Club turned out to be a whole lot less funny than we’d been led to believe – but the audience itself felt like a club undergoing a shady initiation, and it was a memorable screening.

What’s the one film you didn’t get to share with an audience that you wished you had?
Our Little Sister

There’s been a wide range of Q&As this year and the festival’s also had 2 live music events – (3 if you count Crossing Rachmaninoff’s Wintergarden Q*A) last year you said you wanted more of these, are you intending to do more next year?
I hope so.

It also feels like we’ve had films earlier than anywhere else this year – Sherpa, The End of The Tour, so thanks for making us feel special…
That’s been the case for some years now. Our timing so soon after Cannes is perfect for that. The only disadvantage is the difficulty of generating media interest in films that are so new only the cinephiles have heard of them. Convincing anyone that the remarkable Mustang was newsworthy proved impossible.

Have you noticed any things you’d change for next year? It’s a minor issue and talking mainly from personal experience, The Civic’s suffered a little getting people into seats for the fuller events and run a little later, giving the cinephiles rushing to screenings palpitations. Admittedly, not a bad problem to have – have you had any other feedback so far from the public?
It’s an old, old problem, when 2000 people arrive within 20 minutes of start time. The Civic staff  tell us that live performance audiences at the venue tend to arrive in a more timely manner. Maybe the live show audience expects the place to be full and slow to fill.

What are your hopes for the 2016 festival? We are after all approaching a big number for the festival…are there any plans to mark that?
That big number is a way off…

Just finally, how do you intend to spend your down time before the inevitable trips to foreign film festivals?
The down time happens after the ‘inevitable’ trip to Toronto and New York. But I’ve already picked up my first book in four months, and it’s riveting. I can’t recommend Fiona Farrell’s Villa at the Edge of the Empire too highly.

For more on the New Zealand International Film Festival's regional tour, pls head here 

Journey: PS4 Review

Journey: PS4 Review

Released on PlayStation 4
Studio: thatgamecompany
Available on PlayStation Network

Sometimes, a game comes along which just blows you away, offering up the perfect mix of visuals and gameplay.

So it was with Journey back in 2013 on the PS3.

When it launched, it proved itself to be unique, different, visually amazing and creatively clever and yet everyone's experience of playing it will be different.

So the remaster on the PS4 was an inevitable proposition and one that shines with improved power of the unit and the visuals that were already on show.

Let me backtrack for a moment though - and give you some details about what the game is about for those who never took it up way back when.

Essentially, I'm not 100% sure. Bear with me, I've not gone mad and decided not to reveal all - there's so much of this game which is open to your own interpretation.

You are a robed figure who starts off in a desert; a sort of Jawa-esque Arabian type figure who makes no sound other than various flute like noises or notes. When you start, a vast expanse of desert lies in front of you - you've nothing to do except walk around and follow some monuments in the distance.With only the sand around you, you could be forgiven for thinking what you see is a mirage, a joke from the gamers who've made this come to life. But the further you wander, the more you see over the horizon.

Aside from using the circle button to let out a sound or a prolonged burst of song, one thing aids our traveller - bits of cloth and tapestry floating in the air. By singing to them, they are attracted to the Journeyer and form a flowing sash on the back of the neck.That in turn, gives the Journeyer the chance to float and fly across landscapes and above ground. There's no speech or text in this game; it's simply about communicating in different ways and non traditional narrative which is addictive, inspiring and at times, profoundly moving.

All of this probably sounds a little insane - and to be honest, you can't really appreciate how wonderfuland spiritual Journey is without playing it yourself.

Graphically for such a sparse landscape and world, there's never been anything so stunningly impressive; each step creates ripples and dunes flow and ebb with winds as you negotiate them. The visuals are so eye catchingly bare that you're entranced; the simplicity is gorgeous and put very very simply, I have never been part of a game that has given such a sumptuous feast on the eyes by offering up so little. Occasionally though there are moments when the camera movement gets in the way of the character and it can cause a few issues as it auto-corrects (sometimes, not as successfully)

Musically, the mix of violins and cellos give it such a wondrous sonic backdrop which compliments and nuances the whole experience.

Online, the game flourishes too - with other players showing up on screen without any warning. There's no dialogue between characters and much like any kind of tale, you're never quite sure if they're there to help or hinder - the real kicker of this though is they're not automated; these are others experiencing the same path as yourself. It's such a clever intelligent touch by the designers that it's a real reason to take it into the multiplayerverse.

I'm loathe to give away too much about this game - and not just because I've been asked not to do so; the reality of Journey is that the adventure is so uniquely challenging, so cleverly individual and so much fun to find out for yourself, it's almost a shame to have anything spoiled by it.

I can't recommend Journey high enough - while short, it's a brilliantly original game which rewards you for as much you put into it; you define the game by your core philosophies and as such, each Journey will be as unique as every player.

There's still an unstated elegance to Journey on the PS4, and while some of the beats will be familiar to those playing it again, it's no reason to be put off by it - it remains simply one of the most soulful games of our generation - and still an essential purchase.

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God Of War III Remastered: PS4 Review

God Of War III Remastered: PS4 Review

Released on PS4

The anti-hero Kratos returns - but sadly not in a new adventure.

This port of the highly entertaining God of War III is essentially as you'd remember it from the PS3 some 5 years ago.

It's the story of Kratos, the bald headed, rather angry, white skinned champion of the Greek Gods, who turned on them when he was betrayed. With vengeance against Zeus high on his mind, Kratos has to fight everything in his way - from creatures to mythical monsters - to achieve his goal. Or die trying.

Combat and lots of it is still the order of the day with this port - and it still looks frankly stunning as it always did on the PS3. Maybe that's why this game doesn't feel as fresh as perhaps it could - the original version was already pretty close to gaming perfection, a combination of great story-telling and bloodthirsty button mashing. Visually, it still looks good, and the addition of photo mode, aimed at making you share your finer bloodier moments is a nice touch to the proceedings.

And the port's not exactly small either with some 40GB invested in the 1080 framing and 60fps play rate.

The cut scenes sizzle and the opening titles alone are a cause for praise, with painted aesthetics smeared through with splashes of blood red- there's no more stirring a call to arms than this set of openers and none more appropriate for the title in hand.

If God Of War III Remastered on the PS4 plays a little tired, that's only because I had such a blast playing it the first time around - this time, there's only a few tweaks and minor touches that command it as being worthy of a remastered title and for you to invest in again - both in money and in time.

Maybe it's worth it for a wander down nostalgia lane - and it certainly plays smoothly and with no issues, but to be honest, I'd rather have a new God Of War title and see Kratos and the mythology advanced again - and while this one ends on a note that suggests it could go either way, I'm pretty sure at some point soon Kratos will get the PS4 treatment he so richly deserves.

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N ++ : PS4 Review

N ++ : PS4 Review

Released by Metanet Software
Platform: PS4

Running, jumping, collecting gold, opening exits and avoiding death traps.

Sounds easy as, right?

Well in N++, easy is anything but the answer to getting through a series of levels.

In this graphically simple but frustratingly painful game, 2D is the name of the game as you play a ninja, (a stickman ninja) whose aim is to collect all the gold in a level (because ninjas like gold according to the opening test card) and get the hell out of the levels.

Using physics and speed your best bet to survive each of the five sub-levels of the game is to work out quickly what you need to, how you need to do it and how the easiest way is to get it done. But it's not as easy as it sounds - one overshoot of the platforms or one mistiming of the jump and you splat into pieces, and have to press X to start again.

It's fiendishly addictive, over-simple and bloody annoying in parts as the frustration starts to bite at you. Through some 100 levels of the game, it's a fairly intensive process of getting the gold, getting everything timed properly and getting out. Rooms are sparsely decorated and the graphics are even sparser (honestly, the whole thing looks like it's come from a Commodore 64 and looks like it could be the ninja bastard son of Meat Boy) but the gameplay is the thing with this title.

You'll find yourself losing hours to the main game - and that's without the start of the community levels, the multiplayer, the races and creating sections. There's more than enough to play here and more than enough to connect you to cranial meltdown as you apply physics in your head to the problem and watch it all go horrendously wrong in the execution.

Like a ninja training, N++ is about the progression of the journey - if you're willing to stick to it and get there in the end, you could find yourself really engrossed in this platformer that's as devilish as it's simply executed. It thrives on its purity, its simplicity and it's going to drive you absolutely mad.

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Trainwreck: Film Review

Trainwreck: Film Review

Cast: Amy Schumer, Bill Hader, Brie Larson, Lebron James
Director: Judd Apatow

Current It comedian Amy Schumer makes the leap to the big screen in Trainwreck, the latest dramedy to get the treatment from Judd Apatow, which began with 2009's Funny People and continued with This Is 40.

In this fairly autobiographical piece, Schumer plays Amy, a commitment-phobe serial one-night-stander and magazine contributor whose life's been shaped by her father's insistence that monogamy is not normal. When she ends up putting him in a home because his MS has got too bad, she finds her life upended - partially due to that and also due to the fact she meets sports Dr Aaron Conners (Bill Hader) who she ends up having feelings for.

In many ways, Trainwreck is a traditional rom-com that's bathed in an acerbic light thanks to the current pop culture icon that is Amy Schumer.

Complete with a lot of female identifiable comedy and a spunk that's all-encompassing, Schumer makes a relatively good fist of this - both as a writer and as an actor.

The eulogy she delivers for her father is both powerful and painfully truthful, a fact that Schumer's brand of occasionally foul-mouthed comedy is particularly fond of embracing. But there's also a good deal of honesty and heart in the story too; the bond between her and the relatively straight Hader feels realistic, as does the relationship with her sister (played by Short Term 12's Brie Larson) and the one with her father.

And the broad brush strokes of reality (albeit exaggerated at times) and self-effacing touches that she covers herself in means that a large chunk of the female audience will identify with this depiction of a woman on Hollywood's canvas - there's a confidence to Schumer that's infectious and that's laugh-out-loud contagious, despite the occasional depths of vulgarity that she mines.

While the plethora of sports faces will mean that this resonates more with US audiences, there's a vicarious thrill to seeing LeBron James doing the conventionally / unconventional as a version of himself who loves Downton Abbey and delivering some deadpan lines; equally a barely recognisable Tilda Swinton as a Catherine Tate version of a magazine editor has a blast - and John Cena, Marisa Tomei, Matthew Broderick and Daniel Radcliffe all prove game too.

It's fair to say that the usual Apatow formula in these films is strictly adhered to and means there are a lot of scenes where there's close to free-form babbling and ad-libbing that occasionally misses the point and there's certainly a feeling that an expeditious edit could have trimmed some of the bloat from the ragged edges of Trainwreck.

However, there's no denying that Trainwreck is squarely Amy Schumer's vehicle (certainly the closing sequence makes the price of admission worth it alone), a take on an old-fashioned film that may surprise and occasionally apall some in equal measure.

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