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.
And FIFA's annual iteration thereof is now with us.
This time around, it's all about the improvements to the game and the AI. And it makes this FIFA one of the more technical and yet also impressive. There's more of a team feel to the game this time around, meaning that you will need to ensure that you have to instruct the guys a little more on the pitch and fire up some tactics to ensure a win rather than simply kick and hope.
Sure, the game looks as great as it ever does, and that's no surprise given that it's in its 23rd year and has the support of FIFA behind it, but it really needs to be playable and enjoyable to get the continual annual gamers involved.
There's a definite sharpness to the play this year, with goalkeepers seeming more responsive and players being more aware of what's going on in the pitch in front of their very eyes. It makes what transpires on the pitch feel not only more fluid but also much more lifelike as it happens. The game is now more of a game as opposed to previous years which have felt like a bit of a one-sided competition.
The other big bonus of FIFA 16 is the inclusion of the women's football, a chance for the game to reflect all walks of life certainly. And while the pace of FIFA Women's feels a little slower, there's certainly no loss of pace and precision in the women's game - though you'd question why women can't take on the men.
All in all, FIFA 16 is definitely of a more technical nature. It lacks the somewhat pick up and play attitude of the Pro Evo Soccer titles but that's not a criticism at all - more a case of the FIFA game being for the purist.
Worth diving into for another year? Definitely - though what FIFA could do next year is a little beyond me - perhaps there will be some mention of current events and Sepp Blatter's state of affairs...
It's an adage that two moments chiefly evoke in The Ground We Won and a reminder that come hell or high water, on and off the field, the cows still need milking - or delivering.
New Zealand's two chief exports - farming and rugby - get the once over in this new doco which premiered to crowd-pleasing warmth at the Autumn Events and is likely to steal the hearts of both the heartland and abroad.
Husband and wife film-makers Christopher Pryor and Miriam Smith, the self-confessed naive townies who made How Far Is Heaven, head to Bay of Plenty community Reporoa to document a community, their obsession with rugby and the life lessons that we draw parallels from.
Shot evocatively in black and white, and bathing the whole thing in a kind of mystical feel, The Ground We Won is likely to win many admirers (and potentially a few side observations and detractors about the drinking culture within sport) as it follows the team and their quest to remain unbeaten (and friends) in a season back in 2013.
But by focusing on three guys of differing age levels of the team, Pryor and Smith tell us more about a community and the bonds that maketh a man than any simple sports underdog doco ever could.
There's 17 year old Peanut, complete with scar on his chin, who's determined to win the Young Farmer Fight for Life scrap he's in as well as the respect of his team-mates; there's Broomy, the captain and the man who's worrying over how any on-field injuries could impact his running of the farm and force his parents into action; and finally, there's Kelvin, the undoubted star of the piece, a single dad of two adorably cute 7-year-old rugby obsessed boys, who's juggling coaching a kids' team, running the farm and the homestead with a "She'll be right" attitude from the dawn of the day through to the end of the night. (His attitude to getting spoons for yoghurts for the kids' school is to re-use the McFlurry ones from the back of the ute and just to wash them being one of the pearls of wisdom that any Kiwi male will silently but gratefully acknowledge). All of these guys are destined for cinematic fame and the annals of Kiwi blokedom.
There are others in the team, but Pryor and Smith choose not to label them on screen (and the three above as well), which is an interesting narrative choice, but makes the audience work to engage. But it's a clever move which pays off as the reward is an incredibly emotional one and one which reaps the dividends it so rightly deserves as the final furlong nears.
With banter that borders on a mix of continually self-effacing, mocking and what happens when lads get together over a few drinks, there's certainly something for everyone to associate with and engage at every level.
Pryor and Smith wisely realise the draw of this verite piece isn't whether the team wins, or if Peanut triumphs in his boxing and quest to get the ladies or Thomas' attempts to coach the youngsters, but that the true strength and worth comes from the way these guys react to what everyday life presents them with - and by extension, us too.
A morning after calf delivery for Broomy is the reality of a hang-over, using cable to hoist a newborn into the world without losing his lunch. It's moments like these which define us as a people, a nation or a bloody good-fulla.
Equally, the black and white cinematography drenches Reporoa in a blanket of beauty; mist hangs in the air, training takes place in complete fog and the decision to turn things so sparse, gives the film a timelessly haunting quality that's complemented by David Long's sparse OST.
Less a celebration of the drinking culture within sport (though questions will linger), The Ground We Won is an inspiration, an exploration of what makes Kiwi men tick and what binds together communities - no matter what your personal opinion is, every one of these men in their daily lives is an inspiration, proof that no matter what kind of person you are on the field, it's how you live your life and respect others around that matters first and foremost. All of those underlying foundations of life are celebrated as the group congregates in their church of their dressing room.
Pryor and Smith have mined our two national obsessions to maximum effect; it's an intimate and unobtrusive movie, but one that says more about the life that matters most than any doco has done before. The Kiwi male may forever be under scrutiny, but thanks to this paean to the most testosterone-fuelled and quintessential way of life on and off the pitch, it's in very rude health.
Cast: Peter Sarsgaard, Winona Ryder, Taryn Manning Director: Michael Almereyda Realising that exploring social experimenter Dr Stanley Milgram was likely to be a controversial choice, the writer, director, and producer of it all, Michael Almereyda could have been on a sticky wicket.
However, by choosing to break the fourth wall conventions in this biopic a la Bronson, he removes the controversy of the man himself and ends up providing a more rounded insight into Milgram.
The film begins with Milgram's most incendiary experiments into the human condition, wherein he managed to put two subjects - a teacher and a pupil - into a room and made them administer shocks to a stranger. Based on Milgram's childhood growing up as a Jew and being influenced by events in the Holocaust, Milgram's reasoning for his trial appears sound - what could provoke any right minded person into such horrific action?
The Milgram experiments clearly had ripples and ramifications and Almereyda's exploration and presentation of them is nothing short of a shock to the system.
By using the aforementioned fourth wall convention and using photos for backgrounds for some events and meetings, it's a bolt upright reaction to what transpires on the screen. (And even has a feel of TV series Masters of Sex about it in its recreation) - but in many ways, it's a film that defies convention for a man who ultimately defied his own conventions.
Sarsgaard is a cool crisp slice of clinical perfection as Milgram, each word carefully and theatrically delivered for maximum impact and each dryly wry witticism despatched with ease; there's plenty of humour in this film that's essentially a snapshot of a biopic.
By keeping it free of the minutiae of Milgram's life and investing us solely in pivotal moments at certain points in time, Almereyda's concocted something smart and involving.
Exposition serves for explanation and shifts of time periods within the film, and the discussions raised within will likely provoke some incisive and robust debate as the movie ends. However, rather than bogging down the film in stuffy discussion, thanks to some excellent casting (look for the cameos who make up the subjects of the initial Milgram experiment) and a great performance from Sarsgaard and a return to form for a long time absent Winona Ryder as his wife, Almereyda provides a film that hits squarely and confidently what it wants to do.
It may skirt around some issues and some of the ramifications of the experiments (there's an unexplored inference that Milgram was being tailed and one of his colleagues dies early in age, both of these are left to linger frustratingly rather than be delved deeper into), but Almereyda's never interested in anything more than using the style and the effortless ease of his leading man to deliver a fascinating take on a thrilling subject.
After a relatively lacklustre film, the franchise kind of
skidded off the road and saw other racers overtake it in its quest for world
gaming domination.
The likes of Forza and its arcade spin-off Forza: Horizon,
DriveClub and The Crew all came and cocked a snook at the Need For Speed
series, threatening to leave them in their wake.
But a recent closed BETA of the new Need for Speed from
Ghost Games demonstrated this series wasn’t afraid to get dirty and had
embraced some of the bits of the other series and built on them
This latest can simply be described as a mix of elements
from Fast and Furious via The Crew’s street racing vibe with lots of arcade
sensibility thrown in for good measure.
In this reboot of the 20 year old franchise, you take the
role of a racer who falls in with a group of street racers. Taken into their gang,
you get to hurtle around Ventura Bay, a made up place which is similar to
California by night, burning rubber, taking part in challenges and races and
upgrading your ride and customising as you hit the roads.
Need for Speed is a different game from the franchise, one
that revels in its point of difference – live-action cut scenes (which seem
ripped from the likes of the Fast and Furious and are all from first player
perspective).
These scenes are nicely put together, capture some of the
headiness of the road, but are unskippable – even if they do offer the thrill
of some real-life racing stars. They are
a tad long, but given the investment it makes sense to use the actors to their
abilities and inject a boyracer ethos that’s always been apparent in the
series.
Equally, your phone will ring a lot within the game as this
group of disparate racers come together; with banter, offers of races or just
for a natter, it never stops as you race around Ventura Bay in the constant
night-time.
It’s an odd stipulation that EA has insisted that it all
takes place online, given that the map populates with only a few drivers here and
there – to be honest, when I chose to play the servers were quiet and hardly
anyone was around. Hopefully, the more you level up, the more populated it
becomes.
Customising the cars is nicely done – and works naturally by
setting it in a garage, with access to whatever you need providing your rep is
there and your credits are in line. Adding in decals, paints and tooling up give you a feel for your ownership and while this is nothing new in racing games, the fact that it's street-racing to the max, gives it a frisson of ownership that's exciting.
While the police don't exactly feel like they pose much of a threat, the world within is worth exploring. From collectibles to snatching camera shots, there's a lot to do in Need For Speed and a lot that's worth investing in. Granted, if your internet fails, there are frustrations, (and one thing EA should have considered) but for disposable racing fun, Need For Speed delivers in spades. The motto is if it ain't broke, don't fix it, and maybe the reboot has tweaked some edges, but the game's DNA is thrillingly alive in an exceptionally busy end to 2015.
Cast: Jennifer Lawrence, Josh Hutcherson, Elizabeth Banks, Liam Hemsworth, Donald Sutherland, Woody Harrelson
Director: Francis Lawrence
The end is nigh for Katniss Everdeen in the final part of Suzanne Collins' Hunger Games franchise.
At the end of Mockingjay Part 1, the effects of the revolt were starting to be felt and Katniss (Jennifer Lawrence) had found herself an initially unwilling pawn in the face of the Revolution between Panem and the Capitol.
But with President Snow (Sutherland) severely upping the ante in the fight to crush her and with Peeta traumatised, the odds weren't in her favour....
So, deciding once and for all to seize her own destiny and stop being a pawn in a propaganda war, Everdeen sets off to kill Snow and end the conflict.
It gets dark in The Hunger Games: Mockingjay Part 2.
There's the endless atmosphere of solemnity that hangs over the finale and makes part of it feel like dystopia's been washed over with a relentless grey tone. And it certainly wins the prize for some of the darkest material in a YA series that's been committed to screen; one sequence that demonstrates the horror of war and the lengths rulers will go to to achieve victory stands alone as the blackest witnessed on a screen. (Particularly in a week that terrorism's hit the headlines, viewing this through the prism of Paris is an odd experience)
As ever, Lawrence gives a great turn as the wounded veteran of The Hunger Games, the Quarter Quell and the ongoing battle to make her the martyr the cause needs; but even she can't sell some of the moments of the story with a surprising emotional scene failing to hit the mark it needed to. There's a grit and determination to Lawrence that's seen her Katniss' resolve evolve through the run of films and there's definitely a feeling of an arc that's been undergone.
Learning from the relative lag of part 1 where there was much talking about a revolution, director Francis Lawrence delivers some great action sequences, chiefly during a Call of Duty: Panem: The Hunger Games version which sees Everdeen and a squadron of troops trying to make their way through a massive minefield. Equally, a tunnel chase section crackles with a kind of claustrophobic horror seen in Aliens and the Resident Evil game and a trap is brilliantly executed earlier on, there are moments that transcend the ongoing debate and ruminations of the effects of war, which are starting to grow weary as the series ends.
Unfortunately, it's not all gold in this Hunger Games film.
Inconsistencies with Josh Hutcherson's Peeta and his post-war behaviour mar parts of the film, and the love triangle that's grown with Liam Hemsworth's Gale and Peeta simply melts away, making your investment in it over the course of four films simply feel limp.
Also, supporting characters get very short shrift as the series wraps up - and at least one death which is supposed to resonate more, fails to generate the required emotive response. Equally, the denouement of the film with its multi-endings feels too quick leaving the conflict way too swiftly given how events have transpired.
The Hunger Games franchise has always worked by way of its dystopian background, its discussion of war propaganda and its examination of people as pawns. There's been plenty of debate throughout the previous films that have coursed richly through this series' veins giving it a more adult feel than simply its love triangle.
That said, it's a shame that despite the darkness, grittiness and endless talk of how war damages our young and the dissection of post traumatic stress syndrome, there is an awfully out of place pat happy ending that feels like Suzanne Collins short-changed her characters' more mournful journey towards salvation.
While the film's to be commended for never sanitising its message and staying true to its series, the overlong The Hunger Games: Mockingjay Part 2 certainly lacks the emotional heft a finale should have.
Rating: M Released by Sony Home Ent Once again, it's back to a Britain and a romantic comedy where the slightly loopy and utterly unhinged live, but are forever charming thanks to the exploits of that foppish Hugh Grant.
Bell, donning an English accent, is Nancy, a 34-year-old romantic mess of a woman whose continual lack of success during set-ups by her friends fuels her neurotic lifestyle. After yet another unsuccessful mismatch, and compelled by a complete stranger (Ophelia Lovibond) on a train to do so, inadvertently ends up on a blind date with 40-year-old divorcee Jack (Spaced star Simon Pegg).
Deciding not to correct Jack's perception that she's his younger date, and going against her own character, she rolls with it - and finds that life's great rollercoaster has offered her a chance at happiness. But, when the truth comes out over that one night, what next for both Jack and Nancy?
Man Up has a degree of madcap quick cutting banter between the two leads which wouldn't be out of place with any of Edgar Wright's previous outings with Pegg.Though to be fair, it's Bell who assumes the usual Pegg loser role as she borders nigh on unlikeably neurotic and in need of becoming a weak-kneed woman railing against the ineptitude of her own life, but who comes up short when challenged with rising up and fighting to the top of the cliff of her own failure.
Thankfully, the writers realise this early on, and gift Bell a rounded role that sees her getting the audience on side. It's helped in no small way by the camaraderie and rapport that she shares with Pegg's Jack, who appears confident but then channels the typical rom-com stylings, haunted by failures past made brutally present by Olivia Williams as his ex. It's these scenes when they're together that convince us of this relationship, see us champion it and watch in horror as life threatens to pull it apart.While some OTT stereotypes still linger in the script (as personified by Kinnear's stalker whose lunacy veers from cringeworthy to downright injunction-worthy and feels drastically out of place), it all culminates in a finale that embraces the very best of what makes those awfully sappy Brit rom-coms come together - hint, a speech delivered by Pegg would have once been given by a certain Hugh Grant.
But somehow, against all the odds, Man Up manages to work - it's charming, but not exactly perfect and realises that it's two smartest assets are Pegg and Bell; time spent apart from these two during the film drag, but when they're together, the sparkle lifts the humdrum into the eminently watchable.
Thanks to Madman Home Entertainment, I'm giving you the chance to take home a piece of rugby history.
You could win the brilliant doco, The Ground We Won. To enter simply email to this address: darrensworldofentertainment@gmail.com and in the subject line put GROUND WE WON. Please include your name and address and good luck! A knock-about rugby team - made up of salt-of-the-earth dairy farmers - is staring down the barrel of a long run of bitter losses. With pluck and determination, the men unite to inspire their small community. In the face of the hefty demands of farming and fatherhood, the Saturday game becomes the focus of the men's passions; the ground on which their worth is proved.
Alternatively heartwarming and heartbreaking, melancholy and hilariously funny, THE GROUND WE WON captures a fascinating season of traditions, debauchery and friendship, as the men reclaim their faith in themselves
