At Darren's World of Entertainment

Wednesday, 11 May 2016

The Witcher 3: Wild Hunt Blood and Wine Release Date Revealed

The Witcher 3: Wild Hunt Blood and Wine Release Date Revealed

CD PROJEKT RED, creators of The Witcher series of games, announce that the final expansion to The Witcher 3: Wild Hunt, Blood and Wine, will premiere on May 31^st.

“Blood and Wine makes The Witcher 3 complete it’s Geralt’s final mission. Containing more than 90 new quests, and over thirty hours of brand new adventures, it’s something that I think gamers will remember for a long time,” said Konrad Tomaszkiewicz, Game Director, CD PROJEKT RED. “There’s also a massive amount of features we’re giving gamers with this expansion like a dynamic Point of Interest system, a new Gwent deck, new endgame mutation mechanics, and even a place Geralt can call home.... And it’s all happening in a new region as big as No Man’s Land in the base game,” Tomaszkiewicz adds.

The limited box edition of Blood and Wine contains physical versions of the Northern Realms and Nilfgaard Gwent decks.

Blood and Wine can be bought as part of the Expansion Pass, which also contains Hearts of Stone the first expansion to The Witcher 3: Wild Hunt

No Man's Sky - The Lore

There can be no doubt that No Man's Sky is one of the most anticipated titles of the year on PS4.

This video takes a look at the story makers of No Man's Sky including Dave Gibbons of Watchmen, 2000AD and Doctor Who Weekly.

The Angry Birds Movie: Film Review

Cast: Jason Sudeikis, Josh Gad, Sean Penn, Danny McBride, Bill Hader
Director: Clay Kaytis, Fergal Reilly

So, who remembers Angry Birds?

That game we were all so addicted to way back when and then it suddenly died a death overtaken by consoles, Candy Crush and other such time-sucks.

Well, the film version of Angry Birds doesn't care that you've abandoned it, nor does it care that it's essentially got the feel of a one-shot and gone animation, aimed squarely at throwing all its eggs in giving you a cinematic take on the game's simple MO - destroy the towers.

Long story short, Jason Sudeikis is Red, the original Angry bird, who's ostracised cos of his grumpy ways (even though he's lonely from having been bullied in his younger years). Sentenced to Anger Management by a judge after erupting during a hatchday party, he meets Josh Gad's hyper-active Chuck, McBride's explosive Bomb and Sean Penn's non-verbal Terrence.

But his world - and along with all those other flightless ones on his homeland of Bird Island - is further threatened when a ship of Pigs turn up on their shores, headed by Bill Hader's Leonard. Everyone welcomes the Pigs except Red, who discovers a sinister plot by the porcine expedition....

The Angry Birds Movie is a hyper-kinetic, colourful mix of cartoonish one-shot sight gags that almost threatens to fall apart due to the lack of anything more than a thin or coherent thread running through.

The whole thing's essentially structured to lead to a cinematic version of a game as the residents of Bird Island take on the Pigs by hurling themselves through the air and assaulting the towers within.

It's a shame that the first half of the film is little more than a few strong gags threaded through with the thinnest story that those older members watching almost threaten to disengage.

Youngsters will adore the bright coloured animation and the vivid colours (and fans of the animated genre will appreciate the depth and detail that's gone into the creation of the critters, from feathers bristling to a furriness that's adorably executed), even if they never stop to question why these critters can't fly.

At times, during the Pig invasion, the whole thing seems to hint at an allegory for refugees, tolerance, child kidnapping and xenophobia - it never digs any deeper into this darkness, preferring to leave the allusions there for anyone who wants to draw on them.

Sudeikis is affable as Red, and much of the younger end of the audience will be drawn to the hyperactive looney tunes nature of Chuck, but simply The Angry Birds Movie's MO is to be nothing more than to shoe-horn in the game and its mechanics into the narrative.

It just about succeeds with a wilful stubbornness as it slingshots birds across the screen and shoe horns in the game mechanics - but even thanks to some truly impressive animation, it's just a little above a fleeting distraction at the movies.

Tuesday, 10 May 2016

Bad Neighbours 2: Sorority Rising: Film Review

Cast: Seth Rogen, Rose Byrne, Zac Efron, Dave Franco, Chloe Grace-Moretz
Director: Nicholas Stoller

A comedy of diminishing returns, Bad Neighbours 2 simply doesn't have enough steam or gags to sustain it second time around.

When Seth Rogen and Rose Byrne's Mac and Kelly sell their house, they find they have a 30 day stand down period where the buyers could pull out. Things aren't much better for Zac Efron's Teddy Sanders - his best bud in college Pete (Dave Franco) is about to be engaged to his boyfriend and so wants Teddy out of the house they share.

And for Chloe Grace Moretz's freshman Shelby, college life is sucking with the fraternities ruling the roost and sororities hit by sexist double standards. So, finding the house empty next door to Mac and Kelly, Shelby and some chums decide to set up a party house - much to the horror of those about to sell.

Finding a purpose with the sisters as a mentor, Teddy clashes again with his old neighbours, but when he's double-crossed, it's all on as the older generation take on the younger generation.

Bad Neighbours 2: Sorority Rising is a tamer, less funny retread of the first film.

Whereas Bad Neighbours had the wherewithal to play on the older generation vs the youngsters and lash it in edges of Rogen's once-party guy trying to recapture some of his youth, the push this time that Teddy is trying to stay relevant when everyone else has moved on is not really strong enough.

And unfortunately for Bad Neighbours 2: Sorority Rising, it appears most of the gags have moved on as well.

While there's a commentary bubbling under the non- Spring-Breakers style house over sexist double standards within America's campuses, Moretz's Shelby is never anything more than a sweet-natured rebel; there's no bite in this revolution and no real flow in the turf war that grows. Things escalate simply because the movie demands they do, not because the narrative decrees it.

It leads to Bad Neighbours 2: Sorority Rising feeling piecemeal and patchy at best.

There's no denying that when things get a little looser on the script front that it elicits laughs - and Efron is playing dangerously close to sending up his own goofy image of pecs and dumbness in this latest (to say he's game is more than fair). Rose Byrne proves to be the film's comedy weapon, delivering such unexpected lines that shame of the flatter set-pieces and retreads that live within.

Ultimately, recycling proves to be Bad Neighbours 2: Sorority Rising's weakest plot; a scattershot flat plot, built on ludicrous foundations and a few amusing moments does not a great comedy film make.

And while Bad Neighbours 2: Sorority Rising has the good grace to be only 90 minutes long, its refusal to build on any of its generational and millennial themes or social gender and campus commentary for maximum comic effect leave that 90 minutes feeling tame and drawn out.

Bad Neighbours 2: Sorority Rising is a film without a real punchline, a sequel that does nothing to build on the original and one which feels surplus to requirements.

Rating:

Monday, 9 May 2016

LEGO Star Wars: The Force Awakens Trailers and screens arrive

LEGO Star Wars: The Force Awakens Trailer Reveals New Adventures!

In honour of Star Wars Day yesterday, Warner Bros. Interactive Entertainment has released the latest LEGO® Star Wars™: The Force Awakens trailer revealing exclusive new levels exploring adventures set in the time leading up to Star Wars: The Force Awakens

The LEGO Star Wars: The Force Awakens New Adventures Trailer delves into untold tales within the Star Wars galaxy all with a LEGO twist, including Han and Chewie’s voyage to capture the ravenous Rathtars, how the mysterious Crimson Corsair foiled the plans of the First Order, secrets behind Lor San Tekka’s journey to the Jakku Village, Poe Dameron’s daring rescue of Admiral Ackbar and more!

LEGO Star Wars: The Force Awakens will also feature original voice work from key members of the theatrical cast: Daisy Ridley (Rey), John Boyega (Finn), Adam Driver (Kylo Ren), Harrison Ford (Han Solo) and other top stars from the film.

The six (6) New Adventures featured in LEGO Star Wars: The Force Awakens:

· Rathtar Hunting – Follows Han Solo and Chewbacca’s voyage to capture the ravenous Rathtars.

· Lor San Tekka’s Return – Uncovers secrets behind Lor San Tekka’s journey to the Jakku Village.

· Poe to the Rescue – Details Poe Dameron’s daring rescue mission to save Admiral Ackbar.

· Crimson Corsair– Explores how the notorious Outer Rim pirate, the Crimson Corsair, foiled the plans of the First Order.

· Trouble Over Taul– Follows the events leading up C-3PO’s acquisition of his new red arm.

· Ottegan Assault– Reveals a puzzle piece to how the Resistance and the First Order find Lor San Tekka on Jakku.

Featuring original dialogue from key members of the Star Wars: The Force Awakens theatrical cast, including:

· Adam Driver (Kylo Ren)

· Anthony Daniels (C-3PO)

· Carrie Fisher (Leia Organa)

· Daisy Ridley (Rey)

· Domhall Gleeson (General Hux)

· Gwendoline Christie (Captain Phasma)

· Harrison Ford (Han Solo)

· John Boyega (Finn)

· Lupita Nyong’o (Maz Kanata)

· Max von Sydow (Lor San Tekka)

· Oscar Isaac (Poe Dameron)

As part of the Star Wars Day festivities, we are giving away exclusive May the 4th inspired artwork to fans starting today! To download this free desktop image, visit: flickr.com/wbgames.

New assets can also be found on the LEGO Star Wars: The Force Awakens YouTube, Facebook, Twitter and Instagram channels, as well as the WBIE Press Site. To access, please visit the following link and click the “Register Now” button: http://www.wbie-press.com/. If you have any trouble accessing, don’t hesitate to let us know.

LEGO Star Wars: The Force Awakens marks the triumphant return of the No. 1 LEGO videogame franchise and immerses fans in the new Star Wars adventure like never before. Players can relive the epic action from the blockbuster film in a way that only LEGO can offer, featuring all of the storylines from Star Wars: The Force Awakens, retold through the clever and witty LEGO lens. The game will also feature exclusive playable content exploring untold adventures set in the time leading up to Star Wars: The Force Awakens, providing further insight about the new movie and its characters.

LEGO Star Wars: The Force Awakens will be released on the 29^th of June, 2016 on PlayStation®4, PlayStation®3, PlayStation®Vita, Xbox One, Xbox 360, Wii U™, Nintendo 3DS™ and Steam (PC).

Scouts Guide To The Zombie Apocalypse: DVD Review

Rating: M
Released by Universal Home Ent

The fact there are four writers on this film and it's still not on par should tell you all you need to know about Scout's Guide To The Zombie Apocalypse, an occasionally gore-filled comedy that's more miss than hit.

Aimed purely at teenage boys who are on the cusp of obsessing about breasts, its three protagonists are members of a scout troop, headed up by Anchorman star David Koechner's Dolly Parton obsessed leader Scout Leader Rodgers.

This trio consists of level-headed Ben (Mud star Tye Sheridan), the crass sex-obsessed and party wannabe Carter (Miller) and chubby lisper and long term scout Augie (Morgan). Heading out on their final camping trip together, they find a zombie apocalypse on their doorstep. Their only initial guide to surviving the hordes of the undead and the bitey brigade is cocktail waitress Denise (Dumont, who's bedecked in a tank top and cut off jeans throughout) but soon, the trio has to rely on their scouting skills to try and save the day.

To say that Scout's Guide To The Zombie Apocalypse aims for low-hanging fruit is an obvious understatement.

It's not setting out to change the world, merely to try and offer some laughs, but to be frank, it fails to deliver a lot of that for the majority of the time. It's only in the last 20 minutes that the film finally embraces the silliness of its premise and gorges on the energy it's been so lacking in throughout.

There's a vein of obvious raunchiness throughout that Landon has tried to throw in with the bro-bonding and friends dynamic - and that element will certainly appeal to the tittering teens whose comic bones will be amused by (to give an example, the strip club in town is called Lawrence of Alabia). But there's far too little of anything in Scout's Guide To The Zombie Apocalypse to give it a real edge or stand out above fare of a similar nature. And it's no Shaun of The Dead either, lacking any level of sophistication - despite how much Sheridan delivers on a cliched character trope.

The film has some reasonably amusing moments - the promise of zombie cats delivers, another of the undead wears a YOLO shirt, a half smashed glass driven into a head delivers a pouring spout of blood and an escape sequence involving a trampoline finds the lowest common denominator - but Scout's Guide To The Zombie Apocalypse is an entirely forgettable film the moment it's over.

Solid camaraderie and a Three Amigos bond give Scout's Guide To The Zombie Apocalypse the heart the undead are missing, but frankly, due to missing laughs and an uncertainty to dive in and be as stupid as it clearly wants to be,this adolescent fantasy piece that objectifies women throughout never really comes to life until the end - and it's too late by then.

Lord Baden Powell would turn in his grave.

Rating:

Sunday, 8 May 2016

Bastille Day: Film Review

Cast: Idris Elba, Richard Madden, Charlotte Le Bon, Kelly Reilly
Director: James Watkins

Luther star Idris Elba continues his push to be the next action hero with this race against the clock cum mismatched buddy thriller about a terrorist plot in Paris.

When Charlotte Le Bon's Zoe decides at the last minute to pull out of a bombing she's been talked into, Richard Madden's pick-pocket Michael Mason lifts her bag, unknowingly making off with the bomb within.

Dumping the bag on a corner of a street in Paris, as he's walking away the bomb explodes, killing four people and setting in motion a chain of events that see him accidentally caught up in the ensuing manhunt.

Enter former CIA agent Sean Briar (Elba), a grizzled no BS kind of guy, a loose cannon of an ex-agent, who works beyond the law and bends it to his circumstance when it suits. Believing Madden's silky-haired Mason to be the chief suspect, he begins a desperate race to stop a terrorist network from unleashing more misery on Paris.

To say Bastille Day is a hoary old cliched film is to really undersell it. (And to say it felt uncomfortable viewing at times after the Paris bombings last year is a queasy understatement).

There's little on show here that's original or that builds on the clever premise and set-up that feels fresh.

While some of the action sequences are quite tautly put together and presented without frills (a roof-top chase is simply executed and an enclosed van smackdown being two of the highlights), the rest of the film feels awfully cliched and at times painful.

From risible dialogue to the fact that Elba's character sustains nary a cut despite taking several blows to the face, Bastille Day cuts a ludicrous cloth that it never fully embraces to achieve any kind of USP. From Elba barking lines like "You're a wanted terrorist, you killed 4 people. Put your seatbelt on" before a car chase, to a hashtag deus ex machina that's laughable rather than laudable, it never quite achieves greatness.

With underdeveloped and stereo-typed bad guys, a script that squanders the initially clever twist, and a weak performance from Madden trying to give his risible pick-pocket an edge that's not there, Bastille Day may be about bombs, but its unoriginal execution and hoary old tropes mark it out potentially as a bomb of the box office variety.

Newstalk ZB Review - Captain America: Civil War, Florence Foster Jenkins and Brooklyn

This week with Jack Tame on ZB, it was another Marvel movie - the 13th in fact from the Marvel Cinematic Universe.

And something more demure with Meryl Streep in Florence Foster Jenkins as well as Saoirse Ronan in Brooklyn.

Take a listen to review of Captain America: Civil War, Florence Foster Jenkins and Brooklyn below.

http://www.newstalkzb.co.nz/on-air/saturday-mornings-with-jack-tame/audio/darren-bevan-captain-america-civil-war-florence-foster-jenkins-brooklyn/

I Am Your Father: DVD Review

Rating: M
Released by Madman Home Ent

Starting this doco with a Lucasfilm disclaimer saying they had no involvement is not perhaps the strongest beginning for this piece.

It's essentially a paean to the man behind the most iconic mask in the history of movies - Darth Vader.

But what director Marcos Cabota wants essentially to do is to give the man behind that mask in the actual film, Dave Prowse, his time in the spotlight.

Feeling like Prowse has been sidelined in the Star Wars World and denied his moment of fame when the mask was originally removed in Return of the Jedi, Cabota decides to meet Prowse and propose a reshoot.

This is the original premise of the doco, but it's somewhat thwarted by its ambitions and the ideas of the film-makers, who actually flip the idea around and begin an investigation into why Prowse has effectively been carved out of the legacy of Star Wars, banned from the official convention circuits and cut out, even though he's one of the most iconic figures of our time.

Talking heads like Lou Ferrigno, Kenny Baker, Jeremy Bulloch add to the feel of the movie celebration of those behind the mask.

While the director manages most of the time to keep his fanboy in check and Prowse seems very affable and honest, the picture that emerges is one of sadness and one which feels like it's building to a very public recantation from Lucasfilm over what's happened.

At its heart, I Am Your Father is a celebration of all actors behind a mask (as the credits show them), but the slightly mixed ambitions of the doco mean it's not quite a success if it's about either reshooting footage. While it rightly gives Prowse his time in the limelight, and follows the innate tragedy of what happened to him (he emerges as slightly miffed, but carries on in that very English way), it unfortunately never quite hits the heights it aspires to.

Saturday, 7 May 2016

Battlefield 1 is here!

EA ANNOUNCES BATTLEFIELD 1

Experience the Dawn of All-Out War, with 64 Player Multiplayer, Across the Globe, Only in Battlefield 1.

SYDNEY, Australia– May 7, 2016 – Today DICE, an Electronic Arts Inc. (NASDAQ: EA) studio, announced Battlefield™ 1. Only in Battlefield 1 will you bring a horse to a tank fight and squad-up with your allies in epic multiplayer battles with up to 64 players. Through ever-changing environments at the dawn of all-out war, no battle is ever the same. Battlefield 1 will launch on October 21^st, 2016 Worldwide on Xbox One, Origin™ for PC and PlayStation^®4.

Doc Edge NZ Festival Preview - In The Game, Be Here Now, Sugar Coated and Driving with Selvi

As the Doc Edge NZ Festival continues in Wellington, Auckland's getting ready for the launch with anticipation.

After the farrago of Iranian director Rokhsareh Ghaemmaghami initially being denied entry into New Zealand has subsided, the films are taking centre place now.

And it seems a lot of the central theme this year is one of inspiration, certainly from the hand picked titles here.

Be Here Now already had a gala premiere in Wellington at the Roxy, with both director and "star" Vashti Whitfield being in attendance.

I use the quotation marks around star, because it's a doco about the untimely death of Spartacus star Andy Whitfield after being diagnosed with cancer. I've already written a longer piece about both the admiration and honesty of the doco and the journey that Andy's wife Vashti goes on, but needless to say this is a carefully crafted, yet devastatingly honest look at the journey any cancer patient goes on and those around them. Its frank honesty and its humility is what won me over given its core subject matter, and I wholeheartedly recommend you take a look.

Read the Be Here Now review.

Elsewhere, the inspiring is never far from the screen.

Peabody Award winner Maria Finitzo's In The Game takes a look at a girls' soccer team in an urban public school in Chicago. With its uncomplicated and unfussy lens, this film is all about struggle against perception and adversity, but never in a preachy manner. Hardly Bend It Like Beckham, Finitzo's lens captures the team at work, training and playing, facing break up as others graduate within. It captures the exuberance of training and playing, the lows of losing and also the camaraderie of a team under an inspirational coach, Stan. Training teams for some 30 years Stan's approach is more of a mentor than someone running pack drills, and the genuine warmth he has for his team and they have for him is humbling.

Finitzo helps matters by never once appearing intrusive or judgemental. Kelly High School where they filmed and the girls play is one of those hit by a raft of cutbacks (even students are facing the prospect of bringing their own toilet paper in) - but rather than condemning the local boards and the senior levels, Finitzo manages to bring a level playing field and shows how the team rises above such adversities as having no field to train on.

In The Game is a small film about small struggles that are massive to those involved - it's quietly crafted and is more a focus on life, rather than a film simply about soccer. In that respect, it's a documentary that emerges as a worthy winner during the season.

Elsewhere, the sugar debate continues to grow.

What with Damon Gameau's That Sugar Film ruffling a few feathers, but ultimately not seeing millions of us ditch the soda, the debate is gathering voice and strength about the continuing white danger we all face.

In Michele Hozer's factual and rather matter-of-fact piece, Sugar Coated examines the fact the obesity rates have doubled in the past 30 years and the diabetes factor has tripled. It's not exactly anything new in terms of what it's telling and presenting, but in unravelling some of the conspiracies around policy issues and how dieticians were bought off to essentially peddle the message that a little sugar is good for you, it shows how insidious the white disease is - and from a long time back in America.

As ever with these films, the companies targeted and mentioned choose not to give interviews and while there's always a danger that the evidence presented could be one-sided, Hozer's dedication to presenting a clear and concise view of where we've ended up is an interesting watch. It adds to the debate, rather than detracts, as it exposes systemic and wilful ignorance from experts and those higher up. Inspiration comes from the rather nanny state adopted by Japan who impose health nurse visits after a sharp spiral in obesity rates and one can't help but feel that in days of soda costing less at supermarkets than water or healthier alternatives, it's no bad thing.

Ultimately Sugar Coated is sadly another voice to the growing cacophony on the issue. That's not to detract from what Hozer's done, more a reflection that this is an increasing concern that goes untapped for too long - you may well be tempted to ditch the popcorn and drinks for this viewing, to ease your own discomfort.

Finally, Driving With Selvi is more a film to be admired than engaged fully with.

It's the story of Selvi, a former child bride, trapped in a violent marriage and nearly lost to suicide. Instead of jumping under the bus approaching, she decided to jump on it and out of town. Setting up herself as South India's first female taxi driver, this is a 10 year journey and exploration of a woman blossoming under her own steam and finding her inner strength.

From meeting her when she's younger, all timid and terrified to the lady joking about fast driving, it's a story that never revels in the horror of what has transpired, but never fully embraces what it wants to be. Very much a documentary of two halves, this is a film that seldom wanders from Selvi and her arc, but feels a little unfocussed as it hits the road. There's a core message of strength and a key message here, but it's Selvi who emerges as the true heroine of the piece, more out of admiration rather than out of the way the story is told.

The Doc Edge festival runs now in Wellington until May 15th and kicks off in Auckland from 18th May.
Get all the details on their official site - http://docedge.nz/festival/

Friday, 6 May 2016

Carol: DVD Review

Based on The Price of Salt by Patricia Highsmith, the prestige practically drips from the screen in Carol.

Blanchett plays Carol Aird, who meets Rooney Mara's shop assistant Therese Belivet when out shopping for Christmas in 1952 New York. When Carol accidentally leaves her gloves on a counter, Therese returns them and the pair strike up a deep friendship.

But Carol's undergoing a difficult and messy separation from her husband Harge (Friday Night Lights star Kyle Chandler) after a tryst discovered between Carol and her friend Abby (American Horror Story star Sarah Paulson). The enmity between Harge and Carol boils over when the friendship with Therese is uncovered and soon the pair's lives are changed forever.

Swathed in large clumps of elegance and beautiful costumes, Carol is a love story that's richly orchestrated on to the screen and subtly portrayed by its two leads.

Mara does meek well as Therese, a woman whose world appears to be mapped out but whose desires and dreams are thwarted in parts. So when she meets with Cate Blanchett's Carol, Mara uses subtlety to bring her to life, slowly blossoming on the screen from her earlier appearances where she seems lost in her world and unsure of her ultimate destination.

Equally, Blanchett, draped in the finest haute couture of the time and slathered in femme fatale gear, brings a softness and a sadness to a woman trapped in a downward spiralling situation. It's the inflections in her voice and the subtle movements on her face that convey more than words can and get to the heart of this story.

Haynes also deserves praise for the execution of Carol; its lack of overtness, its framing of parts of its leads rather than all of them at key moments may seem to be perverse, but makes for a stylish experience, which is already rightly picking up awards buzz. The film is not in a rush to get where it needs to, and at times, luxuriates in the journey; but it's highly effective because one shocking moment in the middle of the film lands with resonance though in hindsight is painfully obvious.

Carol is a film that commands your attention from start to finish - thanks to its leads above all; from its polished veneer, its sumptuous costuming and its pacing, it's a film to languish in - even if it's hard to fully grab on to emotionally in parts and seems occasionally aloof.

At its heart, Carol is a love story that's rich in resonance and high in subtlety. It's already an awards darling and it's hard to not see that continuing as it weaves its mesmerising spell over audiences in 2016.

Rating:

Be Here Now: Film Review

Cast: Andy Whitfield, Vashti Whitfield
Director: Lilibet Foster

There can't be anyone who's not been touched by cancer in some form or another.

And there have been countless stories and films about the perils of cancer and the insidious nature of the disease and the way it destroys and inspires lives of those around them.

Yet, Oscar nominated director Lilibet Foster has created something more intimate and more devastating than the usual fare.

With unprecedented access to former Spartacus actor Andy Whitfield, his wife Vashti, and their children over an 18 month period, this warts and all video diary is equal parts inspiring, equal parts maddeningly upsetting and heartbreaking.

Whitfield was a model turned actor, whose star was severely in the ascent when he signed up for Starz drama Spartacus, filmed in New Zealand. At the end of the first season, his life changed completely when a routine check up for a pain revealed he had Non-Hodgkin lymphoma.

Suddenly facing a life-changing disease and nothing more than sheer bad bloody luck, the doco follows the highs and extreme lows of living day to day with a disease. From Andy's mantra of living in the moment and turning the negatives into the positive, it's clear this doco wants to be inspirational. And it'll be the hardest of hearts and the most cynical of human beings that's not moved by his sheer positivity in the face of such an incredible wave of bad news, flying the Whitfields way.

This is perhaps one of the most intimate docos on the subject of cancer; at times, it's a hard watch as the cruel blows keep raining down on them.

However, Foster's omni-present yet never intrusive camera gets to the rub of the matter and presents in a heart-breakingly honest way that's never mawkish.

Witnessing wife Vashti's arc is going to be nothing more than a positive for many as well. Initially fearing she can't support her husband because she doesn't fully buy into his positivity before ultimately holding her husband up and supporting him when the final diagnosis drops and no other options remain, she's a portrait of honesty, anger, support and love.

Equally, Andy Whitfield's portrayal of a family man, a man for whom fighting the disease was a blessing in disguise because he can spend time with the kids, is something aspirational.

This is a warts and all documentary, that's sensitively executed, carefully probing yet never intrusive and with a stark, emotional honesty that many will recognise. It's film-making that captures a series of moments that show humans at their lowest and also at their most elated - there's no denying that Foster's film will anger you. But not because of the way the situation is milked, but because the way it's presented is nothing short of a compelling, conflicting, maddening and emotional ride.

At its heart, Be Here Now is a love story and a testament to a deeply loving relationship.

Sure, it may not have the happy ending that you ultimately expect, but the phoenix that rises from this tragedy is nothing short of inspiring, a sign of something to aspire to and a journey that's as humbling as it is heartfelt.

Be Here Now plays as part of the DocEdge festival in Wellington now and in Auckland from May 18th.

MOTOX GP2: PS4 Review

Platform: PS4
Released by Milestone

Motorcross is not a sport that sings out for simulation on a console.

Essentially, the thrill of it lies within the thrust of the bikes, the adrenaline of the moment and the dirt under the wheels. And also the level of skill of the drivers.

Transposed onto the smaller screen and with an inept driver, the game becomes something of an endurance test to begin with. Initially you can expect to see your bike become easily separated from its rider, but with a degree of patience and tolerance for learning how to race properly, MXGP2 soon becomes something of a boon for fans of its ilk.

Customisation is the name of the game to start off with from names and flags to icons, but this is mere window dressing to get you into the game itself. But when it comes to the racing, there's a degree of skill needed which takes time to master. Use of different calibrations of the bike take some time to adjust to and hurling around corners is nothing short of pointless, sending you flying into the mud, rather than sending you flying into the rankings.

Graphically, the game looks fine - though there's little next gen sparkle so recently seen with the likes of Driveclub Bikes. This is not really a game for this current generation to be honest, with the machines' engines hardly getting much of a work-out.

In terms of career, there's plenty to do here and even a multiplayer to keep you amused.

Overall, MXGP2 is a fine title, but it rarely soars. It feels perfunctory instead of amazing and doesn't dazzle as much as it should. Granted, it's playable, but it is also forgettable once you've switched it off.

Thursday, 5 May 2016

Uncharted 4: A Thief's End: PS4 Review

Platform: PS4
Developer: Naughty Dog
Released by Sony Computer Entertainment

There’s no denying there’s a massive weight of expectation on Uncharted 4.

The Naughty Dog Nathan Drake franchise has been a high performer throughout, and with the news this is the wrap up game, it’s fair to say that everyone is expecting very very high things.

And the good news is that as an experience, the story mode of Uncharted 4: A Thief's End delivers.

Taking a leaf out of the Rise of The Tomb Raider, Naughty Dog’s two year development’s paid off both in terms of gorgeous visuals and deep dive narrative.

It’s as cinematic as it is action packed, without ever losing sight of what makes the core dynamics of the game so enticing to so many.

Set several years after Drake’s Deception, Nate is retired, a wearied man who has given up on the thrilling Indiana Jones style life and forsaken it for a normal life with wife Elena.

However, his world’s turned upside down when his long-believed-dead brother Sam shows up and thrusts him into another adventure, with Henry Avery at its core…

To say more is to reveal spoilers in what is essentially a globe-trotting game that sees Naughty Dog being as audacious with their hero, as they are with their timelines.

It starts with the first of many rug-pulls as you find yourself on the high seas (initially believing it to be behind the wheel of a jeep) and from there, it’s a rollicking adventure that never loses sight of the personal for Drake and consequently, the player.

Dipping into his past, moving into his present and reuniting many of the franchise’s familiar faces, Uncharted 4: A Thief’s End is as much as about seeking treasure as it is about exploring the bond between Nate and his older brother Sam. Both Nolan North and Troy Baker (as Nate and Sam respectively) knock it out of the park, from banter to heartache, the voice work on this is top-notch. It imbues the whole thing with a heart that sees you through the occasionally repetitive(but none the less thrilling) gameplay that is prevalent early on.

A lot of the start of Uncharted 4: A Thief’s End is about parkour, hurtling through Nate’s memories and appreciating the wondrously gorgeous backgrounds that Naughty Dog’s visualised. From the grimy streets of an orphanage style break-out, to the high tops of a prison riot, this is a game that knows what its core audience wants and also how to dazzle the casual gamer who may navigate their way to this episode because of the hype. (It’s also a game that knows how to surprise as you go on the journey with Nate – something that the global delivery and release will do, and something which will forbid spoilers from being released within).

With elements of stealth, remnants of Tomb Raider’s grappling sides of tall precipices and jumping through clifftops and large lashings of both Indiana Jones and Nathan Drake, there’s certainly no need to accuse Uncharted 4 of not going all out in its final outing.

Combat is intuitive and also easy to initiate – and certainly the fact that if you’re stupid enough to fall off a cliff, the body can be seen plummeting to its death rather than stopping mid-fall. Coupled with Sam’s wails as you die, this is a game that has all the edges wrapped up.

Even the inclusion of the new rope and grappling mechanics is smooth - it's a natural extension of Indy's bull-whip and it gives the game a cleverly outdoorsy edge that's hard to shake. Used in conjunction with stealth, this is a device that definitely helps out of corners.

It’s the breadth and emotional focus of Uncharted: A Thief’s End that impresses though.

Within the first few hours, there’s plenty of globe-trotting before you even notice what you’ve been doing – and the game’s immersive touches and environments certainly keep you engaged.

The single player elements of the story are compelling, tautly executed and flow with ease (though no doubt there was plenty of hard work going on behind the scenes to ensure this was the case). It looks gorgeous and is seamless. (And with the relationship between the brothers, it further cements my belief that Nathan Fillion would make a perfect Nathan Drake - and perhaps either William Mapother or William Fichtner to play Sam).

Uncharted 4: A Thief’s End will undoubtedly grow with the planned release of free DLC over the next year – and while I’m waiting to play test the multiplayer when the game universally releases and the servers are fully populated ( that’s not due to problems within, more with my interest being piqued by how it will all cope when the masses receive it), it’s a title that so far, I can’t help but recommend fully.

Thrilling, enthralling, engaging and exciting, Uncharted 4: A Thief’s End is one game to leave the PS4 third-person fan breathless and one to entice the casual gamer into its fold.

Naughty Dog has delivered and then some – if this is the end for Nate and the Uncharted franchise, in terms of its story mode and single player, it couldn’t have hoped for a better send off.

(Uncharted 4: A Thief’s End: Multiplayer will be reviewed after the release date of May 10th, when the servers are more fully populated)

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First Film Announcements for NZIFF

The New Zealand International Film Festival (NZIFF) today reveals the first five films of the 2016 programme, which will screen in Auckland from 14 July.

“We’ve chosen to reveal these five films first because audiences have been requesting them ever since they appeared overseas, or in the case of High-Rise, ever since the first trailer launched. NZIFF July is still a while away, and programming is still underway, but we encourage you to start booking out your diary now for those winter weeks at the movies.” says NZIFF Director Bill Gosden.

Heart of a Dog

An enchanted cinematic essay by legendary performance artist Laurie Anderson. Centering on Anderson's beloved rat terrier Lolabelle, who died in 2011, Heart of a Dog is a self-narrated punk meditation on love and death; exquisitely crafted and effortlessly profound.

http://www.nziff.co.nz/2016/auckland/heart-of-a-dog/

High-Rise

In Ben Wheatley's ambitious, wildly disorienting adaptation of the J.G. Ballard novel, tenants of a high-tech skyscraper slip into a literal class war. Starring Tom Hiddleston, Jeremy Irons, Sienna Miller, and Elisabeth Moss.

http://www.nziff.co.nz/2016/auckland/high-rise/

NUTS!

Loaded with wry humour and surprising rug-pulls, Penny Lane’s supremely strange biography of 20s impotence-cure mogul J.R. Brinkley is the documentary oddity every festival watch-list needs at least one of.

http://www.nziff.co.nz/2016/auckland/nuts/

Midnight Special

Michael Shannon, Joel Edgerton, Adam Driver, Kirsten Dunst and newcomer Jaeden Lieberher star in this dazzling, genre-defying sci-fi/chase movie from the director of Mud and Take Shelter.

http://www.nziff.co.nz/2016/auckland/midnight-special/

Tanna

Australian documentary filmmakers Bentley Dean and Martin Butler collaborated with villagers in the Vanuatu highlands who’d never seen a movie to create this ravishing cinematic expression of traditional culture and forbidden love.

http://www.nziff.co.nz/2016/auckland/tanna/

NZIFF is run by a charitable trust and encourages lively interactions between films, filmmakers and New Zealand audiences in 13 towns and cities around the country. The full NZIFF programme will be available from Tuesday 21 June for Auckland, and Friday 24 June for Wellington. NZIFF starts in Auckland on 14 July and in Wellington from 22 July in 2016.

Brooklyn: DVD Review

Saoirse Ronan's star is most definitely in the ascent with Boy A director's John Crowley's Brooklyn.

It's not an original story by any stretch of the imagination as Ronan's young Irish immigrant Eilis heads to Brooklyn for a new life at the behest of her sister who believes she has more going for her life than she has in Ireland.

Inevitably Eilis suffers from crippling home-sickness as she adjusts to a new country, filled with her own ex-pats but still feeling alienated by those around her. Stuck in a boarding house ran by Julie Walters' Mammy, Eilis worries she has made the right decision, but finds her life is turned around when she meets Italian nice guy Tony (Cohen) who woos her, and ultimately wins her heart.

But when tragedy hits at home, Eilis feels the familial bond stretched as far as it will go...

That Brooklyn follows a predictable route is no surprise, (the film cruises along with a genial vibe before a bad thing happens) but what emerges is that Saoirse Ronan makes the journey of Eilis' coming of age so damn approachable.

From the subtle clothing choices - Eilis wears dowdy dull colours in Ireland before donning more luminous and bright garb as she begins to blossom in Brooklyn - to the social history made real, this old fashioned feel good film is likely to hit as many in its audience as it intends to.

Ronan lifts the film from its mediocre roots with a rounded performance that feels like a credible arc; from naive homesick Irish girl to woman of the world, she sells the journey with an earnestness that is deeply watchable and transcends the material as well as getting you to believe the immigrant experience and the blossoming of a young woman. Eilis may appear to dither at times, and certainly in the second half of the film when she heads back to Ireland, the reasons for her actions are more obtuse than you'd expect due to a passive turn that's perfectly crafted and wonderfully understated.

However, sensitively executed with a troupe of solid performers (Jim Broadbent's turn as the benevolent and benefactor priest is a highlight) Brooklyn's timeless and universal story of coming of age and starting anew seems destined for awards - and marks a real turning point in Ronan's career.

Sometimes labelling a film as lovely and pleasant seems like a back-handed compliment, but Brooklyn manages the fine line between both as it juggles the emotive with the dramatic; richly resonant and likely to hit the majority of the audience - even if cynics will dismiss its naivete and intentions - it deserves to be a talking point during awards season.

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