Hitman: Episode 2: Sapienza: PS4 Review

Hitman: Episode 2: Sapienza: PS4 Review

Platform: PS4
Released by Square Enix and IO Interactive

The Hitman episodic release schedule may have irritated some, but given the depth and breadth of episode 1 and the scope of the Italian Job in episode 2, it's an irritation that is unfounded.

This time around, Agent 47 is hitting the streets of Sapienza, and its gorgeous vistas to take out target Silvio Caruso, a brilliant bio-engineer who's been working on a DNA-specific virus that could signal bad things for everyone around the world.

Sounds simple? And in true Hitman style, once again it is - as long as you have all the right pieces in place for the execution.

Sapienza is a location that is dressed in beauty.

From its wider map and its beach side shops and other settings, it's a level that encourages exploration before you uncover extinction of your target.

As ever the Opportunities system which randomly presents itself to you while passers-by lurk help provide you with clues as to what to do or what you could do, but it's all about the information-gathering before the hit is executed.

In terms of the gameplay, not much changes with episode 2 but what does emerge is that the episodic structure is really working out for Hitman.

In any other game, the zipping through levels that have clearly been designed with time in mind wouldn't serve to benefit this game - these are areas that crave exploration and duly reward you for doing so in the long run. Plus, with something that looks as gorgeous as Sapienza, the pressure's on to take it all in, rather than race to complete it within a certain time level.

From the high profile of the Paris hit to the more relaxed vibe of Sapienza's seaside locale, it's clear the game's shaping up to be something quite special and varied, which is more than a bonus.

As this game rolls out, it's clear Agent 47 is bang on target.

Win a double pass to see X-MEN: APOCALYPSE

Win a double pass to see X-MEN: APOCALYPSE

SYNOPSIS:
Following the critically acclaimed global smash hit X-Men: Days of Future Past, director Bryan Singer returns with X-MEN: APOCALYPSE.

Since the dawn of civilization, he was worshipped as a god. Apocalypse, the first and most powerful mutant from Marvel’s X-Men universe, amassed the powers of many other mutants, becoming immortal and invincible.

Upon awakening after thousands of years, he is disillusioned with the world as he finds it and recruits a team of powerful mutants, including a disheartened Magneto (Michael Fassbender), to cleanse mankind and create a new world order, over which he will reign.

As the fate of the Earth hangs in the balance, Raven (Jennifer Lawrence) with the help of Professor X (James McAvoy) must lead a team of young X-Men to stop their greatest nemesis and save mankind from complete destruction.

ONLY IN CINEMAS From May 19th

To enter simply email to this address: darrensworldofentertainment@gmail.com and in the subject line put APOCALYPSE. 

Please include your name and address and good luck! NB Competition closes 24 May - editor's decision final!

New Transformers film will be called.....

New Transformers film will be called.....

 

X-Men Apocalypse: Film Review

X-Men Apocalypse: Film Review

Cast: James MacAvoy, Michael Fassbender, Jennifer Lawrence, Oscar Isaac, Tye Sheridan, Sophie Turner, Evan Peters, Olivia Munn
Director: Bryan Singer

It's back into X-territory for the latest outing in the mutant franchise.

This time around, ten years after the events of Days of Future Past the mutants of Charles Xavier (MacAvoy) are forced into action when the First Mutant Apocalypse (Oscar Isaac) is re-awakened. Intent on destroying the world and unleashing chaos, Xavier's problems are further compounded when Magneto (Fassbender) joins Apocalypse's team...

That the latest X Men film feels a misfire is more a script issue rather than any kind of fault in its execution.

Granted, there's plenty of at times impressive CGI destruction to behold as Apocalypse and Magneto join forces to raze civilisation, but the script's lack of singular focus or clear vision means parts feel muddled and overly saggy without any real reason.

It may be that part of the story's rehash of how a mutant comes to be (in this case, Scott Summers, played by Mud's Tye Sheridan) feels so familiar having been explored before. Other characters in the film such as Angel, Storm and Psylocke have good opening sequences and introductions before falling away into narrative obscurity.

It's symptomatic of so much being juggled but yet nothing being fully fleshed out in X Men Apocalypse, that it leaves the whole thing feeling relatively soulless and without any real sense of jeopardy.

It's a shame because the opening in Egypt feels like a mutant version of the start of The Mummy but gives the film a sense of scale and threat that's lacking elsewhere. 

The problem comes that Apocalypse is a bit of a weaker villain for the piece, preferring to be an enabler of those recruited to his Four Horsemen gang, rather than an actual menace worthy of the series and of the tease that was proffered up at the end of Days of Future Past. Isaac does as much as he can under the blue prosthetics but he's saddled with scenes that simply find him in the action scowling and grumbling, rather than bringing a level of fear that the so-called First Mutant should evoke.

For the sixth film in this revamped series, the latest X-Men curiously defers all the personal interplay that helped lift the previous films in favour of over-egging the pudding. 

Curiously, the best moments of Apocalypse involve Fassbender's sense of tragedy as Erik is forced to abandon his living under cover and working in a steel-works - but even this emotional resonance is ultimately undercut by the ongoing tedium of the ideological battle between Xavier and Erik over their philosophical outlook on life. It's a thread that's repeatedly been explored before and one which finds nothing new added this time around.

Of the younger generation, Evan Peters once again excels as Quicksilver, with his central action piece of rescuing everyone from an exploding building being a visual highlight (even if it is a riff on his previous cinematic appearance) and Game of Thrones' Sophie Turner presents an intriguingly subdued take on Jean Grey, with more pent-up yet somehow repressed psychological damage being the order of the day.

Unfortunately though, with the over-stuffing of the cast, the film's younger generation don't exactly excel - despite all their efforts (Kodi Smit-McPhee's Nightcrawler is a nice take on the Alan Cummings'  much loved mutant) the script confines them to the sidelines or to a pointless excursion to Stryker's hideout and Weapon X, purely for fan service.

Equally, the Apocalypse group (who look like a bad 80s rock band) fall away in the wash. The Newsroom's Olivia Munn makes an initial impression as Psylocke before narratively she is eclipsed. 

It's symptomatic of the wider issues of X-Men Apocalypse, a film which is more concerned with rote CGI destruction (which is visually impressive to start off with, before repeatedly used) than character. If this series needs anything urgently with a 90s set outing planned, it's an injection of heart, soul and humanity, rather than a reliance on FX. 

If it doesn't go back to basics, concentrates on the core elements of the series and delivers a genuinely threatening villain or situation that doesn't feel contrived very soon, the X-Men franchise runs a risk of becoming cinematically and thematically alienated.

Sisters: DVD Review

Sisters: DVD Review

Released by Universal Home Ent

Trading on the Amy Poehler / Tina Fey chemistry that's been such comedy gold at awards shows and seen them collaborate together before on film (Baby Mama), Sisters is at times a free-wheeling blast of frat and humour.

Parks and Rec star Poehler and 30 Rock's Fey play sisters Maura and Kate Ellis, who are summoned back home when their parents (Brolin and Wiest) reveal the familial homestead is being sold and they need to clear out their old rooms.

Poehler's Maura is the more sensible of the pair, a nurse prone to helping all and even imposing when her perkiness is not welcomed; Fey's Kate meanwhile is the party queen, a free-wheeler who's there for a good time and pays no heed to what lies ahead, despite having a daughter.

Returning to their home and overwhelmed by memories of their  Deciding to throw one last legendary Ellis party and revel in their reputation, the party is set in motion.

But with Kate and Maura swapping roles, things soon go awry as the chaos eventually escalates.

Sisters is never funnier than when it lets the central pair freewheel from the script. 

While it sags in parts and could have comfortably trimmed 20 mins off its run time, Sisters trades well on Poehler's perkily optimistic comic outlook and Fey's natural smarts give it a brittleness and freshness which allow for plenty of unexpected laughs and moments that will catch you unawares.

Gently mocking the move from your perception of how life was when you were 21 to now you're suddenly 42, Sisters manages to tap into both a sly mocking of the idea of growing up and the horrifying reality of how we choose to be civilised at these kinds of dos, rather than completely cutting loose.

Cleverly managing to avoid the plot's flimsiness by using the main stars' innate likeability, Sisters also uses the mix of Saturday Night Live cast and friends (Maya Rudolph's Brinda as the bitch determined to crash the party) to good solid effect. Even John Cena plays up the comedy chops he's already demonstrated this year with his appearance in Trainwreck.

Sisters may feel like it lacks an overall coherency throughout (attempts to inject some sentiment and emotion towards the end with Kate and her daughter border on pointless), but its cross-sex appeal make it worth a view - but don't expect to leave with any other impressions than those Poehler and Fey give you. They're clearly having a blast making it and their infectious chemistry and comic friendship will help you paper over the cracks that pepper it throughout.

Rating:

Newstalk ZB Review - Bad Neighbours 2, Angry Birds and Bastille Day

Newstalk ZB Review - Bad Neighbours 2, Angry Birds and Bastille Day

This week, it was talking Bad Neighbours 2, Angry Birds and Bastille Day

Take a listen below!

http://www.newstalkzb.co.nz/on-air/saturday-mornings-with-jack-tame/audio/darren-bevan-bad-neighbours-2-the-angry-birds-and-bastille-day/

http://www.newstalkzb.co.nz/on-air/saturday-mornings-with-jack-tame/audio/darren-bevan-bad-neighbours-2-the-angry-birds-and-bastille-day/

Alienation: PS4 Review

Alienation: PS4 Review

Released by Housemarque
Platform: PS4

To say Alienation feels familiar is a massive understatement.

Developers Housemarque are responsible for one of the all time best games on the PS4, Resogun. That Defender style shooter has occupied my consciousness since playing it at a launch event for the PlayStation 4 way back when and its weekly challenges and expansions prove to provide fertile territory for anyone invested in shooters.

Which is why Alienation perhaps, feels like such a massive disappointment in some ways.

Essentially, a home guard attack on an alien invasion, this title wants to help kick ass as the hordes attack, but the fact it's just a rehash of Dead Nation (by the same studio) makes it feel massively underwhelming and unoriginal.

Coupled with the fact that tooling up and upgrading is so difficult to understand, this shooter's sole saving grace lies only in its online presence, which breathes a life into the twin stick shooter sensibilities within.

A solo game offers little thrills as you wander through levels, taking on baddies and leaving you facing hordes that are difficult to off on your own, even with your capabilities and using exploding cars and vehicles' radius to pick them off with some carefully timed bombs.

But it's when friends join you and it becomes a co-operative onslaught against the masses that the game begins to thrive and builds itself up into something that's a little more fun.

From dashing to melee, to aiming and shooting, this really is nothing more than a rehash of the mechanics of Dead Nation, a title that echoed out on the PS3 and embraced its zombie cornball 80s action vibe to full glee.

Unfortunately, this time around, with a muddled upgrade system that's confusing as hell and difficult to instigate, it has nothing new to offer the gaming world - and we've already had something similar with Helldivers, a game that works as both co-op and solo play.

Perhaps this is Housemarque's first mis-step in the gaming world, perhaps Resogun set the stakes so high that nothing could match up, but Alienation manages to pass the time while being both playable and perfunctory is to damn it with faint praise.