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.
Once polemic director Michael Moore returns with a documentary that sees him mellowing with age and ultimately presenting a film that ends up lauding an America that's currently smarting, even though he has their ideology square in his sights.
Presented as a travelogue and beginning with Moore addressing a line up of the American establishment after being imagined being summoned to Pentagon, Where to Invade Next posits the theory that America's in trouble and there are no solutions.
So, draped in an American flag and setting out across Europe, Moore visits countries like Italy, Germany, Finland, Portugal, Slovenia to see how their progressive politics are helping their natives.
On this mission to see what the USA can learn from the rest of the world, Moore's one man invasion is nothing short of a genial feel-good film that feels slighter when compared and contrasted to his earlier works.
There's no doubting this is the man who seethed with indignation in Bowling for Columbine and Fahrenheit 9/11 but there's equally no doubting this is a film-maker who has mellowed with age. If anything this film feels slight and a little saggy in its 2 hour run time, but it's no less diminished thanks to Moore's quick wit and amusing quips.
There's something ribald about seeing Moore genially head into situations and examine the problems his country's facing and the apparently sensible approach European neighbours have taken. There's no doubting Moore's liberalism is on show here and there's no doubting he's ever anywhere but in Europe's favour (even though the end coda demonstrates he still has an extremely soft spot for his home land, despite all their ills - I'll leave aside the argument that his conclusion negates the need for the film and shows off a typically American approach to the world).
Half of the joy of Where To Invade Next comes from people's reactions to Moore - mostly, the majority of them are non-plussed with some of his revelations and his cheeky approach to problem-solving. But it's never anything less than serious with Where To Invade Next; there's never any real discussion over how the proposed solutions could work in the USA or why they would fail; this is a doco and global jaunt that's purely and squarely aimed at feel-good.
Occasionally, there are some disguised criticisms of European policy, wrapped up in sentimental music and an even more pronounced and soft spoken Moore voiceover.
It's hard not to feel like Moore is criticising Norway for their treatment of Anders Brevik and his incarceration post-shooting. Lingering on a victim's father and repeatedly asking if he wanted to kill Brevik seems a little insensitive by most measures and the argument gains no traction by the continual prodding.
Ultimately, Where To Invade Next is clearly a softer Moore piece, that's aimed more at crowd-pleasing than thought provoking. It's possible Moore's MO was solely to instill European attitudes in people and enlighten audiences to the fact there are better ways to do things. While he stops short of actual education and showing how that could be implemented, there's no denying he does entertain during his two-hour OE, which is aimed solely at boosting flagging American morale.
Cast: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw
Director: Robert Eggers
More a lesson in psychological horror than abject terror first time director Robert Eggers' The Witch is a spiralling descent into madness in the 17th century.
Subtitled a New England Folk Tale, it's the story of a family excommunicated from a Christian Puritan plantation in 1630, because of an unexplained sin of their father. Despite being given the chance to repent, he leads the family out into the wilderness and near to a woods, choosing to reflect on their sins and seek internal and eternal forgiveness first. But when Thomasin (Taylor Joy) is playing peek-a-boo with the family's baby Sam one day, she closes her eyes to find the baby snatched before her and with no clue over where he's gone. As the family's crops begin to fail and there's no return from Sam, the internal conflicts grow with the rumour that Thomasin is a witch being seeded and growing viciously, threatening the very fabric of their family unit. The Witch is in some ways, the horrifying coming-of-age story of Thomasin (Anya Taylor-Joy). Taylor-Joy is wonderful from the start as she looks down the barrel of the camera and begs for forgiveness while her expressive brown eyes poke out from wafts of blonde hair. Her conflict and struggle is inherent from the beginning and Taylor Joy's commitment to underplaying the role helps sell her own demons and those around her. There's a wonderful ambiguity to her performance that's as gripping as it is sickening.
Elsewhere, creepy is the order of the day, with psychological terror being the serving of Eggers' film rather than lazy jump scares and terrifying set pieces. While this film is bathed in the language of the time and with time taken in prayer, and elements of religious fervour displayed, it's essentially the tried and tested story of the destructive power of rumour. Thanks to debut director Eggers' incredible set design and unswerving dedication to evocation, the long sweeping camera shots, an ominous soundscape and brooding soundtrack, The Witch is a classic case of unnerving. All of the cast acquit themselves excellently; from Ineson's determined father to Dickie's gradually dismantling mother this is a family unit on the edge, a family one moment away from cracking and whose ultimate fate is partially of their own doing. Equally, the twins of the film are unsettling and creepiness personified. While it could be argued the ambiguity which serves the majority of the film well is wrongfully discarded in the final moments of the end (leading to a feeling of a desire to satiate audiences who wanted more due to their own expectations), The Witch is a masterclass in brooding atmosphere and growing sinister dread.
But it's also a masterclass in humanity and human reaction, thanks to Taylor-Joy's relatably innocent performance; her Thomasin is a deer stuck in the headlights of superstition and spiralling doubts, and she delivers on every level in this cautionary tale whose universal themes will ring true long after the lights have gone up.
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.
