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.
That Stop Making Sense manages to seem so electrifying some 32 years after release is a testament to director Jonathan Demme's capture of the concert, as well as the band involved.
Filmed over 3 nights at the Pantages Theatre, Demme manages to encapsulate the energy and kooky nature of lithe and wiry lead singer David Byrne and his aesthetic for on stage.
The film begins with Byrne's solo performance, armed with only a guitar and a boombox, as he launches into a riveting version of Psycho Killer. Gradually, portions of the stage are wheeled out and one by one, members of the band join him. It's not until a truly evocative performance of Burning Down The House some 30 minutes in that the entire band's on stage. But that's not to say the film doesn't kick off until then.
Demme's deliberate camera-work and refusal to cut to the audience (aside from the final song to show how much people are actually grooving away) serves as an immersive touch to bring you close and personal concert experience. Coupled with the Auckland's Civic Theatre sound system, there was not one doubt that those watching were not in the original audience.
Cleverly, Demme captures each nuance of the stage show - from the wheeling out of various props to the unveiling of various band members, he holds your sway, knowing instinctively where you as an audience member would be focussed with your attentions and letting the camera be your guide.
It helps that Byrne has an infectious energy as he jogs on stage, plays with a lamp or is bedecked out in a giant oversize suit. The energy from both his performance and the band itself, as well as the back catalogue of hits is contagious, and yet never once loses the intimacy of a stage show.
However, as the concert draws inevitably to a close, there's no disputing the true stars of the film are both Byrne and Demme. Byrne for his conceiving of the stage show and its execution and Demme for showing the inner cogs of how a show comes together - that it never purposefully feels like it's been culled from 3 days of shooting over 3 concerts is a credit to the editing, which not once loses the vibe and punkish energy of Talking Heads at their absolute peak.
Stop Making Sense is a performance in the truest sense of the word; it's for both fans and non- fans. That a camera has captured the magic and managed to lose none of its urgency is merely a testament to the skill of all involved.
Cast: Neel Sethi, Idris Elba, Bill Murray, Ben Kingsley, Lupita Nyong'o, Scarlett Johansson, Giancarlo Esposito, Christopher Walken
Director: Jon Favreau
1967's Jungle Book set the standards for family films.
The Disney film is so beloved by many that a live-action remake by Iron Man director Jon Favreau seems to be almost redundant.
It's the same story from Rudyard Kipling's books and sees newcomer Neel Sethi taking on the role of Mowgli. For years, Mowgli's lived under the tutelage of the wolves, raised as a man-cub by Akela and Raksha (Esposito and Nyong'o respectively) but the tiger Shere Khan (Elba) has been unhappy about it.
During a time of drought, there's a truce, but once the rains come, Khan decides it's time for Mowgli to die. Fearing for his life, Bagheera (Kingsley) sets out to escort the young man-cub to the village and to safety.
But the journey is a difficult one...
There's no denying the visual achievements that The Jungle Book has achieved.
Despite being shot downtown in LA, there's nary a street corner in sight and the whole thing actually manages to look like it was done on location in the African wilds. There's no disputing the immersive landscapes are redolent and reminiscent of the kind of design unleashed by James Cameron's Avatar all those years ago. The grounds are cluttered with all types of animals - from cute cub wolves to a porcupine (voiced by the late great Garry Shandling), this is a world that's perhaps over-stuffed with demonstrations of what the CGI can do.
Sethi has his moments as Mowgli, but the first time actor doesn't quite always hit the mark as the man-cub - though admittedly, it must have been tough acting a one kid show against CG creations. He's hampered by some dialogue issues and some scenes that don't quite pull together as well as perhaps Favreau had envisioned.
That said, there are moments when the CGI creatures and their relatively realistic talking (think Babe but a bit straighter) gels in a way that brings the charm of a family film to life. There are also plenty of darker moments too - from Scarlett Johansson's silky and sonorous snake Kaa's voice echoing around the cinema to Christopher Walken's King Louie (complete with Shatner-esque Dixie jazz version of I Wanna Be Like You), this is a film which will likely give the younger end of the Disney audience some discomfort in their seats, thanks to its nightmarish visuals.
And there's no disputing Murray's Baloo is a case of perfect casting and a sign that this anthropomorphic animal has been exquisitely rendered with its source material in mind.
Equally, Favreau's evocation of the "red flower" that blights the forest and Shere Khan's past are quite cleverly manifested too; visually, this film soars - even if the 3D seems to damage the effect by dimming it all.
But it's also a film that feels emotionally redundant and that lacks any real threat.
Elba has the menace of Shere Khan, but he lacks the script to back it up; certainly the sequence where Akela is casually despatched feels like it has no emotional ring to it and no oomph to satiate his cruelty.
Ultimately, The Jungle Book is a film that has plenty of charm but little edge.
Whether that is enough to satiate family audiences these days remains to be seen; there can be no denying the plaudits for the impressive digital work and the slavish devotion to the source material, but as an experience, The Jungle Book just manages to do the Bare Necessities to keep you entertained while the lights are down.
Cast: Jennifer Aniston, Harry Connick Jr, Vin Diesel
Director: Brad Bird 1999's The Iron Giant is back on the big screen for the Autumn Events festival.
And the right-wing's indignation over its anti-gun message is likely to be further rattled by the inclusion of one new sequence where the robot dreams of rampaging armies and the devastations of war.
For those not in the know, this animated tale from The Incredibles' director Brad Bird and based on writer Ted Hughes, it's the story of nine-year-old Hogarth, a young kid who's growing up in a small town America living in fear of the bomb and the red menace. One night, Hogarth sees something unusual in the garden and believing it's aliens, sets off to take a look.
But he discovers a giant metal man in the forests - and soon befriends the robot.
However, there begins a push to hide the robot from others, chiefly a curious G-man whose paranoia and determination to stop the red peril places them all in danger.
The Iron Giant remains a tautly told tale of pacifism and of love, beautifully rendered with a 50s aesthetic and vibe from the animators.
Granted, there are echoes of ET, flashes of the old 50s movie Invaders from Mars and about a million countless other genre-derivative flicks you can think of. But still to this day, The Iron Giant's emotional heft is unbowed.
The extra scenes in the film include the aforementioned robot dreaming in the scrapyard, where the future dystopian / alien world menace gives some more weight to the robot's desire to wipe out guns or at least fight back against them. (Though it has to be said, some of the film's power is wiped by a somewhat overly sentimental ending).
There's also a canny placement of Tomorrowland (out now on DVD, kids!) but all in all the restored version of The Iron Giant loses none of the pleasure first felt at the end of last century.
With a central friendship and a foe that is redolent of the times, as well as some great cartoon animation (all angles for the bad guys, curves and smoother edges for our heroes), it's a film that still lands in the treat bucket, and one which has lost not a jot of its charm as the years have gone on.
Do yourself a favour - and introduce a new generation to the film; they'll thank you for it, and the discussion over its subject matter and central message will go for years.
Cast: William H Macy, Frances McDormand, Steve Buscemi, Peter Stormare
Director: The Coen Brothers
One of the Autumn Events' raison d'être is the chance to revel in classics on the big screen.
1996's Fargo is one of those films that is a bona fide classic - and dazzles once again in its 4K 20th anniversary release.
The last Fargo-esque experience at the Civic was from the festival a couple of years back with the Japanese flick, Kumiko, the treasure hunter.
So it's great to bookend that experience with the original which has now spawned two TV series.
For those unfamiliar with the Coen Brothers classic, it's the story of William H Macyz's Jerry Lundegaard. A car dealer stuck within life, he plots to have his wife kidnapped to extort cash from his father-in-law to help him out of the holes he is in.
But when two hitmen get involved, things rapidly spiral out of control in the icy town of Fargo.
Still as clever as it always was, Fargo's classic sheen continues to rub off on cinema with its noir take steeped in the white icy vistas of the snow.
However, as life takes its toll and casts its shadow on the viewer, there's more of a realisation of the sadness within Fargo and the spiralling escalation of the tragedy within. It's not that there's anything less than desperation apparent in the likes of Macy's performance in any shape or form; there's an increasing frustration from Buscemi's hitman / kidnapper as everything goes south in his plan. Both Macy and Buscemi embody the human condition in many ways in Fargo; both are trapped in situations they foolishly believe they're in control of and both are powerless to do anything except ultimately be compelled to surrender to their fate. Frances McDormand as ever is the heart and soul of this film as Marge Gunderson, the pregnant cop trying to unravel events while dealing with a growing number of slightly kooky characters. There's still plenty of warmth emanating from her turn on the screen amid the mountains of white. In terms of the film itself, there's nothing to beat the visuals - from the bleak harsh snowy vistas to the inevitable blood-red spray when Buscemi's funny-looking guy meets his end, this is a film that still uses its oppressive chilly snow to bring in an atmosphere that's as gripping as it is funny. Comic interludes are more of the black variety, but channel that perception of small hick towns and their inhabitants, slyly and simultaneously mocking those within. Intelligent, classily shot and still incredibly entertaining, Fargo is a cool slice of cinematic gold and worth diving into once again.
Are you classy or flashy? Subtle or over-the-top? Whatever your style, DOOM’s in-depth player customization will let you express yourself when you step into the multiplayer arena on May 13. As you level up, you’ll unlock tons of gear, paint colors for your armor and weapons, and much more. You can get a taste for some of the customization options in the video below.
Some of you may have experienced the multiplayer yourself in our recent closed beta, or maybe you caught some video that came out of the event. Many more of you are about to jump into this weekend’s open beta. While this will give you a small taste of the myriad of customization options, here’s the full rundown for those seeking more info on how you’ll progress through DOOM’s multiplayer – from a level-one newbie to an Echelon-ranked badass.
Progression
You don’t have to be the best DOOM player to rise through the ranks. In fact, you might not always be on the winning team, and that’s OK. Half of your experience just comes from showing up and making an effort. The other half comes from kills you rack up, where you place on your team, whether your team wins or loses, any challenges you might complete, and commendations like MVP or Most Demon Kills that you may receive. In short, the more you play, the more armor, weapons, equipment and hack modules you’ll unlock. You’ll also receive epic customization options for all your gear, so you can look cool while you obliterate your opponents.
Once you hit level 50, you’ll receive your first Echelon. Your level then resets to 1 and you become Echelon 1, Level 1. But even though your level resets to 1, you won’t lose all that gear you’ve unlocked. Everything you earn stays with you. (Each time you gain an Echelon rank, you’ll unlock a special insignia denoting your Echelon rank so other players will know what they’re up against.) With 10 Echelon ranks and 50 levels per Echelon… well, that’s a lot of levels and a lot of sweet customization options to unlock as you work your way through them.
Armor and Weapons
With nearly 300 pieces of armor falling into five distinct themes, over 90 primary and secondary paint colors and over 50 paint patterns to choose from, you can be sure your DOOM marine will be killing in style. Deck him out in one of five base armor suits (UAC, Demonic, Bounty Hunter, Templar and Utilitarian), and pick and choose the pieces you want for his helmet, legs, torso, right arm and left arm. If you want a Jaguar torso piece with Scalar legs, an Ocelot left arm and a Wildcat right arm, you can do that. As long as you’ve unlocked the piece, you can customize your marine however you see fit.
After you’ve picked out your armor, you’ll be able to throw a coat (or two or three) of paint on that bad boy. You can select your primary and secondary colors, the pattern on your armor, and the color of the lights on your suit. You can also choose whether you want matte, glossy or metallic paint, and just how intense you want the colors to be. When you’ve got your colors selected, give your marine a more battle-hardened look by adding dirt and scratches to the armor. Keep it shiny and pristine or make it look like you’ve truly been through Hell. If you really want to see some crazy combinations, you can randomize all aspects of your armor’s customization using all of your unlocked armor pieces and paintjobs for some really crazy designs.
Customizing your weapons works much in the way armor customization does. You’ll have 96 colors to work with, plus 60 patterns, and like with your armor, you can adjust the weathering of your weapon to give it extra character. Each weapon is broken down into two zones and highlight areas, allowing you to get even crazier with your color combos. Both zones can be independently customized with either a solid color or a pattern and two colors. The weapon’s highlights can then be decked out in a different solid color choice.
All this ensures that when your DOOM marine steps onto the battlefield, no one will look quite like you.
Hack Modules
Everyone needs a little boost now and then, and that’s where Hack Modules come in. Hack Modules are consumable power-ups designed to give you a small, but meaningful, edge in multiplayer. Whether that edge is a display of your opponents’ health, or a quick jolt to your speed, Hack Modules are another way for you to customize and augment your experience. You don’t have to pay for these; you’ll get two Hack Modules just for successfully completing a match.
Each Hack Module has three tiers, with rarer higher-tier modules lasting longer or providing greater boosts than more common lower-tier modules. Hack Modules aren’t specific to an individual loadout. You can equip them in the lobby prior to starting a match. Select up to four, and if you find yourself gravitating toward a specific module, you can equip multiple copies of it. Only one Hack Module can be active at any given time, and must be triggered in the death-screen. The Hack Module timer will not begin until you respawn and active modules can be canceled by selecting a different one or the Noneoption in the death-screen.
Some of the Hack Modules you will unlock include:
Supply Timer – Visually display the remaining time before nearby pickups and power-ups will respawn
Alarm – An audio cue plays when an enemy is nearby, warning the player
Blood Trail – Reveals the location of enemies that the player recently wounded
Infinite Ammo – Temporarily grants infinite ammo for both of your loadout weapons
Power Seeker – Displays spawned/dropped power-ups and power weapons through walls
That’s just a small handful of the Hack Modules you’ll unlock. There will be plenty more for you to experiment with at launch.
Equipment
In addition to your Hack Modules, you can also equip one of seven different special items per loadout. These range from your standard Frag Grenade to the new Siphon Grenade, which explodes on impact and creates a large sphere that drains enemy health and armor. All drained health and armor is then transferred to the player who deployed the grenade. The Siphon Grenade runs on a timer, and will remain active until its time runs out or it’s destroyed by enemy players.
Not every piece of equipment is designed to kill. You can also equip non-lethal items that provide tactical support. Take the Shield Wall, for example. The Shield Wall creates a large protective barrier that blocks fire coming from both directions, as well as enemy players. The Shield Wall can stop up most doorways, and it’s tall enough that players can’t single-jump over it.
Equipment has a recharge time that starts as soon as an item is thrown or deployed, but dying will automatically reset your item, allowing you to use your item at least once per life.
Taunts
Everyone likes to show off a little. (Or a lot if you’re feeling particularly cocky.) With over 125 unique and showy taunts, you can show off in style. Load up your DOOM Marine with four taunts at a time and use them whenever you want. Whether you’re standing on a pedestal at the end of a match posing like Superman, or dancing on the corpses of your fallen foes, you’ll be able to express yourself while you rub your sweet victory in your opponents’ faces. Of course, you might want to be careful about when and where you choose to “Make it Rain” or dust the “Dirt off Your Shoulder.” You’re completely vulnerable to attacks while you’re taunting, and someone might just take offense to your celebration and take you out. And that would be embarrassing.
Sherlock Holmes: The Devil’s Daughter - new video and new release date announced
Sydney, Australia - April 15th, 2016 – Bigben Interactive, the video game publisher and distributor, and the studio Frogwares are today pleased to reveal the first gameplay trailer for Sherlock Holmes: The Devil’s Daughter. The game will be available June 10th on PlayStation®4, Xbox One and PC.
In this new video, the adventure is just beginning for the celebrated detective! Beset by doubt and fear, he must act quickly to escape his darkest demons. Will his nerve be up to the task?
Sherlock Holmes: The Devil's Daughter will be released June 10th on PlayStation®4, Xbox One and PC.
Sherlock Holmes: The Devil’s Daughter is a unique adventure game that blends exploration, investigation and action for a breath-taking and fantastic playing experience.
What led young Katelyn to 221B Baker Street? Could she have discovered the dark truth about her family? And who is the charming clairvoyant who has moved in to 221C? Is there room for séances and occult rituals in the bastion of logic and rationalism?
For the first time in his prestigious career, the most illustrious of detectives must fight not to reveal a secret, but to keep one…
In Sherlock Holmes: The Devil’s Daughter, you play as the master detective himself, plunged against his will into a fantastic adventure brimming with intense action sequences for an interactive experience that is more immersive than ever. The mysteries follow one after another, the clues pile up, trails intersect, the hypotheses contradict… Will you be able to guide Sherlock Holmes to the incredible final revelation?
Rating: M Released by Sony Home Ent Prosaic and elegaic, The End Of The Tour centres on the five day conversation between Rolling Stone journalist David Lipsky (Jesse Eisenberg) and writer David Foster Wallace (Jason Segel) back in 1996.
In light of the publication of Wallace's ground-breaking novel Infinite Jest, Lipsky joined Wallace on the last few days of his book tour and got to know the man.
To say little happens in The End Of The Tour is perhaps an understatement, but this essentially extended conversation weaves in some home truths about life itself and Wallace, as well as opening up the writer to those who may not have known his work.
Eisenberg is solid and irritable as Lipsky, a fellow writer and fan of Wallace who's clearly under his thrall before meeting him but whose interest in his subject is tested and who puts him to the test by the five day trip; there's an occasional hint of tension as Lipsky's Rolling Stone boss hounds him to get to the bottom of some rumours, but other than that, it's about the ebbs and flows of conversation, even if Eisenberg makes you forget he's a journo trying to get a headline.
However, it's a softer Segel who's more impressive as Wallace - capturing not only his physical essence with the bandanna and wire rim glasses, but by giving a sensitively drawn portrait of a man clearly troubled by his life and the realisation of his place in it. Moments when Wallace reveals how he'll feel at the end of the tour are devastating, hinting at his fragility before segueing to shots of him dancing in utter released bliss. There are occasional bouts of insecurity and prickliness from Wallace but Segel makes these moments the emotional bombshells they need to be thanks to a subtle performance that roots itself in the man and his words, rather than the mythos and the perception.
Essentially this road movie boils down to just one thing - it's a portrait of a man and it's excellently portrayed in this two-hander.
Director James Ponsoldt, who did the wonderful The Spectacular Now, gets to the heart of this sensitive esoteric piece and zeroes in on the words of the script, rather than the actions. As a result, more is literally said but even more is hinted at and thanks to Segel's stunning turn, Wallace is brought vividly to life.
The End Of The Tour feels like a quieter piece, but it's more moving and elegaic than anything I've seen in recent weeks - the vein of Wallace's inherent sadness is blown open at the end of the film, and you can't help but feel Lipsky's tears as if they were your own as he eulogizes his friend at the end.
