At Darren's World of Entertainment

Friday, 17 June 2016

Mirror’s Edge Catalyst: PS4 Review

Released by EA

Platform: PS4

I’d never played the original Mirror’s Edge, but having played in the BETA for Mirror’s Edge: Catalyst, I was intrigued to see where this game would go.

Meshing the visuals of Blade Runner and the much under-appreciated Remember Me through a white sheen, the look of this game is sleek and sophisticated; it’s one that feels futuristic and malleable as you parkour your way around the open world.

Starting with Faith being released from juvie and meeting up with her former running mates, the story follows a relatively predictable path of breaking into places and a conspiracy involving Faith and some behind the scenes shenanigans with hackers.

But the real joy of Mirror’s Edge: Catalyst is the free world city that she has to traverse through to achieve various missions, side quests and challenges.

Running and vaulting around the city of Glass, Faith’s got the moves aplenty to keep her going – and to deal with combat. I don’t recall such a game having so much use of the L1/ L2 buttons on the PlayStation controller as I bounded from one wall to another and leapt through the air. Hurdling under obstacles, leaping over them, bolting sideways on walls is all good fun and relatively smooth, though occasionally, dizzying thanks to the first person view of the game.

Initially, it takes some time to adjust to the movement’s mechanics and the need to work the buttons in the right order to produce a free-flowing fracas in a fight situation. That coupled with the runners’ vision (a red ghosting system gives you clues as to where to go, but they’re not always the most helpful), give the game an ease of access for any casual player who just wants to pick it up and run.

Cut scenes are beautifully executed too, with the graphics of the next gen console shining through.

Unfortunately though some of the dialogue is a little emo 101 and the flow is occasionally interrupted by the scenes. But they’re relatively short and never stop from getting you engaged back in the free-running around the City of Glass.

Combat’s simplicity itself, but it really works best when it’s chained with running and taking on the bad guys of Kruger Sec as you pummel them while free-running. It’s a neat combo trick and while you can simply stand and bash them, they adapt, meaning you need to mix it up; it’s simply executed and when it works, it feels like liquid gaming.

Overall, Mirror’s Edge Catalyst is a high powered visually good looking game that lives up to its futuristic promise. There are some rougher edges in this smooth Blade Runner world, but when it all comes together, the flow and momentum are contagious, and much like Faith and her team, all you want to do is keep on running.

Thursday, 16 June 2016

NZFF 2016 Even more titles unveiled

The New Zealand International Film Festival (NZIFF) today announces 13 titles that will screen in the World Strand of the programme with the support of new sponsor 2degrees.

NZIFF annually hand picks an international selection of films to feature in the World Strand, the largest section in the catalogue. Close attention is paid to films lavished with praise or box office success in their countries of origin, as well as films that have struck programmers as highlights from a year’s worth of intense viewing that ended only three weeks ago in Cannes.

As I Open my eyes

“Though we aim to be as international as possible, we don’t believe in token representation. This year nineteen countries are represented in this section. We’ve been really struck by the strength of the latest Italian, Spanish and French cinema in particular,” says NZIFF director Bill Gosden.

The World Strand at NZIFF is sponsored for the first time in 2016 by 2degrees.

“2degrees is proud to be partnering with the New Zealand International Film Festival for 2016. This is our first year as sponsors and we are excited about supporting such a fantastic line up of films in the World Strand across New Zealand.” says 2degrees Chief Marketing Officer Roy Ong.

The 13 films announced from the World Strand of the programme today:

Everybody Wants Some!!

Richard Linklater follows Boyhood by recalling his own first days at college in this hilarious, deeply relaxed comedy about male bonding, set in the bars, discos, parties and frat houses of 1980 Austin.

“It’s an effortless cult classic, delivered by a master of the form.” — David Sims, The Atlantic

http://www.nziff.co.nz/2016/film/everybody-wants-some/

Captain Fantastic

Renaissance man Viggo Mortensen steals the show as a solo father whose idealistic way of raising his six children off the grid comes under attack in this energetic, comedic drama.

“Viggo Mortensen… in a role that feels designed by the movie gods.” — Dan Mecca, The Film Stage

http://www.nziff.co.nz/2016/film/captain-fantastic/

Truman

Argentine Ricardo Darín and Spaniard Javier Cámara are beautifully paired in the most garlanded Spanish film of the year, a warm and humorous drama of male friendship shaded with imminent mortality.

“Ricardo Darín and Javier Cámara take Cesc Gay and Tomàs Aragay’s superb screenplay and offer an acting masterclass in Truman, a low key, character driven buddy movie laced with black humour and emotion.” — Clive Botting, Huffington Post UK

http://www.nziff.co.nz/2016/film/truman/

Perfect Strangers

A gathering of old friends accepts the challenge to share all incoming calls and messages. It’s a game you won’t want to emulate at your next dinner party, but dammit, you’ll be thinking about it.

“Remakes will be rampant of this discomforting dramedy where friends play a game reading aloud incoming cell phone messages at a dinner party.” — Jay Weissberg, Variety

http://www.nziff.co.nz/2016/film/perfect-strangers/

Suburra

This bloody, brutal crime saga boasts the epic sprawl of the mob classics it emulates, but with a lurid energy all of its own. With a throbbing score from electronic heavyweights M83.
“Suburra drops the viewer directly into a miasma of corruption… [and] will command your attention all the way to its bloody and operatic finale.” — Michael Jaconelli, The Skinny

http://www.nziff.co.nz/2016/film/suburra/

Everybody Wants Some!

The Daughter

The most lauded Australian drama of the last year, this bold, superbly acted debut from acclaimed theatre director Simon Stone reimagines Ibsen’s The Wild Duck in a contemporary small town.
“Australian director Simon Stone, along with big names Geoffrey Rush, Sam Neill and Miranda Otto, take Ibsen’s The Wild Duck to dark new places.” — Tara Brady, Irish Times

http://www.nziff.co.nz/2016/film/the-daughter/

As I Open My Eyes

Tradition butts up against progress in Leyla Bouzid’s debut, a musically charged French-Tunisian film that follows a young woman in a band as she navigates familial and cultural strictures on the eve of the Jasmine Revolution.

“A great film. A film with heart and passion, one that can color one’s dreams and inspire one’s days.” — E. Nina Rothe, Huffington Post

http://www.nziff.co.nz/2016/film/as-i-open-my-eyes/

Things to Come

Isabelle Huppert essays a self-possessed woman confronting unexpected changes in her life and work in Mia Hansen-Løve’s heartfelt and perceptive portrait of middle age.

“No festival should be without a superb Huppert performance, and Mia Hansen-Løve’s insightful, literate and moving drama gives her sterling material to work with.” — Jonathan Romney, The Observer

http://www.nziff.co.nz/2016/film/things-to-come/

Thithi

From India’s southern state of Karnataka, this award-winning comic gem made by first-time director Raam Reddy charms with its easygoing naturalism, evocative setting and colourful cast of characters.

“Raam Reddy’s bold, vibrant first feature is closer to Émile Zola than it is to Bollywood.” — New Directors/New Films

http://www.nziff.co.nz/2016/film/thithi/

The Innocents

Based on a true story from post-World War II Poland, this satisfying drama follows a young female French doctor who finds herself caught up in the lives of nuns, traumatised and shamed by their wartime suffering.

“Anne Fontaine’s finest film in years observes the crises of faith that emerge in a war-ravaged Polish convent.” — Justin Chang, Variety

http://www.nziff.co.nz/2016/film/the-innocents/

After the Storm

A formerly successful novelist tries to reconnect with his ex-wife and young son in this affectionate, shrewdly observed drama of family life from Japan’s unassuming master, Kore-eda Hirokazu (Our Little Sister).

“Even long-standing fans of the Japanese filmmaker might be taken aback by the supreme subtlety of his latest, achingly beautiful ode to the quiet complexities of family life.” — Robbie Colin, The Telegraph

http://www.nziff.co.nz/2016/film/after-the-storm/

Julieta

Spanish auteur Pedro Almodóvar (All About My Mother) returns to his roots with another satisfying female-centric emotional drama, cutting between past and present to explore the loves and regrets of his anxious heroine.

“Julieta is a guilt-soaked pleasure… it’s like an unexpectedly dry martini in a dazzling Z-stem glass.” — Tim Robey, The Telegraph

http://www.nziff.co.nz/2016/film/julieta/

Personal Shopper

Kristen Stewart reunites with Clouds of Sils Maria director Oliver Assayas to play a young American in Paris, buying haute couture for her celebrity boss, and seeking contact with the spirit of her dead twin brother.

“Personal Shopper is affecting, singular and a great showcase for Kristen Stewart.” — Josh Cabrita, We’ve Got This Covered

http://www.nziff.co.nz/2016/film/personal-shopper/

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 and tickets on sale from Friday 24 June from Ticketmaster for Auckland. Wellington programme will be available from Friday 24 June and tickets on sale from Thursday 30 June via nziff.co.nz. NZIFF 2016 dates are:

Auckland 14 – 31 July

Wellington 22 July – 7 August

Christchurch 28 July – 14 August

Dunedin 4 – 21 August

Further regional dates, along with ticketing information can be found at nziff.co.nz.

Warcraft: Film Review

Cast: Travis Fimmel, Paula Patton, Ben Foster, Toby Kebbell, Daniel Wu
Director: Duncan Jones

If Warcraft ever had an obstacle to over come, it's set out right at the start - a way in for those non familiar to the genre.

While the games and novels have been massive for years, the idea of a CGI fantasy helmed pic is a hard sell to non-fans (even ones like us blessed with the Lord Of The Rings and Hobbit series) and unfortunately Duncan Jones' flick will do little to convince those who don't know their orcs from their wizards to sign up.

Half the problem lies in an info dump at the start which is confusing, exposition heavy and tries to create a breathing world that you can embrace right away. But it is muddled and drops so much that the rest of the plot somehow manages to be flimsy in its wake.

Loosely, Warcraft is about a horde of orcs invading Azeroth, a kingdom of humans and another world through a portal because their's is dying.

But the humans, led by Travis Fimmel's fighter Lothar and Ben Foster's magician Medivh, the guardian of their lands won't stand for it.

However, with one of the Orc chiefs Durotan (a mo-capped Kebbell, the unsung star of the piece) unsure of his magician Orc leader's choices and with betrayals aplenty, the fight may not be as straightforward as expected...

With too many action and bloodless fight sequences that are both brash and noisy, as well as difficult to care about, WARCRAFT's cod fantasy and slightly ropy dialogue makes this FX fest something of a drudge.

It's a shame as the visuals are reasonably impressive on an IMAX setting, with castles and kingdoms looking as good as anything Peter Jackson has ever crafted, and giving the lands a sense of being.

Equally, the first close up of troubled Orc Durotan bristles with sharp contours of skin and detail popping out and feeling realistic, rather than a rote CGI creation.

But it's the human elements and story which unfortunately don't shine here.

Blessed with too little character and a rushed execution, Warcraft barely finds space to breathe or time to invest in the emotional journeys.

Be it Paula Patton's out of place female Orc slave being set up as a potential love interest, Travis Fimmel's supposedly broken warrior, Dominic Cooper's fey king or Ben Foster's scenery chewing and mumbling Guardian, these are once over lightly protagonists that do little to sell their oh-so-familiar story arcs.

It's a shame because the conflicted Orc chieftain, as well as a warlord unwilling to embrace the archaic honour code to subjugate their own are interesting threads worthy of growth. But they wither on the CGI vine, unloved and left out in favour of the old fantasy deus ex machina, magic.

Plus emotional moments which should fuel the plot's momentum and deepen the character engagement feel rushed and less than effective in the final third.

The fact Warcraft will satiate large swathes of its core game fans (of which there are billions who've invested countless amounts of time in the World of Warcraft second world) is not necessarily a good thing.

The fact the story is frustratingly inconclusive and a desperate grab for new franchise is yet another slap in the face after 2 hours of soulless CGI drudgery that revels in nothing more than sound and fury.

Ultimately, Warcraft is neither magical nor engrossing as a saga, or the first part thereof: it's a formulaic fantasy film that's neither fantastic nor thrilling, and is dangerously close to an over-long, unexciting game of Dungeons and Dragons.

Wednesday, 15 June 2016

Shots from E3 2016

Unless you've been living under a rock, you would know that the annual E3 gaming Expo is underway.

Thanks to Gavin of Pursuit PR and the XBox team who are there, here are some shots from the floor at E3 of the people, the games and the experience!

Some of the highlights include Halo Wars 2 and Forza Horizon 3!

To watch the XBox E3 showcase, click here

To watch trailers from the XBox E3 unveils, click here!

And to catch all the action, head to Twitch for XBox live streaming

Me Before You: Film Review

Cast: Emilia Clarke, Sam Claflin, Charles Dance, Janet McTeer, Stephen Peacocke, Matthew Lewis, Jenna Coleman
Director: Thea Sharrock

The Fault in Our Stars, If I Stay, Last Cab to Darwin; there have been a growing number of cinematic entrants to the pantheon of doomed love and illness literature in the past few years.

The latest contender, Me Before You, taken from Jo Jo Moyes' book and adapted by the author, is the most current addition to the cinematic experience that is kryptonite to many - the weepie.

Buoyed by likeable (and bankable) stars Emilia Clarke (she of dragons and Thrones fame) and Sam Claflin (he of Hunger Games fame), large swathes of this story are forgiven their cliches because of the chemistry between this duo.

Claflin plays Will Traynor, an aristocratic castle-dwelling guy who lives life to the full, has it all and in a sequence before the credits, has it all taken away and is paralysed from the neck down when hit by a motorbike. Trapped in a chair in a small town, his life as a quadriplegic his future.

Enter Game of Thrones' Emilia Clarke as the eccentric small town girl Lou Clark, a perpetually perky, expressively eye-browed, quirkily dressed potential carer, whose life is a struggle to help her family and make ends meet. Initially reticent and hostile to Lou, Will finds her perkiness wears him down - and the two begin to form a friendship.

However, in the background, a dark secret is waiting.

Meshing the Intouchables with an English sensibility and a different performance from Clarke, this fairy tale story of the guy in the castle in the village is exactly what you'd expect from the genre.

Wrapped in portions of humour - some appropriate, some not - and blessed with two chalk and cheese leads that you actually manage to care about even though it's a story you've seen a million times before, Me Before You is a twee journey that dawdles a little on its way to its eventual destination.

The problem is that the struggle for Will never feels real and a story decision over assisted suicide feels narratively necessary for the film and book's USP rather than the cinematic catharsis. It's no discredit to Claflin at all, whose subtle performance is perfectly in keeping with the genre and shows his bitterness at times, but merely the writing which lets him down.

He's not alone though, as the film is packed full of underwritten and underused supporting characters that hardly feature except when it suits proceedings. (Step forward, Matthew Lewis aka Neville Longbottom and Lou's boyfriend)

Inevitably the Hollywood trappings and tropes of the genre forbid the darkness from seeping into this rom-com-sick-lit piece, and it's a shame that the final portion of the film actually lacks some of the emotional heft it could have achieved. (Though there were some women at the screening with wet eyes).

Still in a film where one of the leads has never seen a subtitled film or where another is constantly apparently in pain but never glimpsed, it's to be expected of Me Before You.

Shoe-horning in melodrama at the end and washing everything over with a twee brush and a MOR soundtrack is to be expected, and ultimately, Me Before You works within the confines of its genre,

However, it means this mix of wannabe optimism, bizarre take on the reality of being disabled and predictable formulaic fare is what you'd expect - but given its euthanasia edges and the debate of a right to die storyline, those involved fudge the most interesting kernel of the piece in favour of a quirky and mawkish rom-com.

Marguerite: Film Review

Cast: Catherine Frot, Andre Macon, Sylvain Dieuaide, Christa Theret
Director: Xavier Giannoli

Hollywood's already brought us this tale and in a relatively short space of time in the form of Florence Foster Jenkins starring Meryl Streep, but this French version of the same story is an eminently classier version.

This time it's 1920s Paris and it's the story of Marguerite Dumont, a wealthy woman who's a patron of the arts and opera. Imbued with the delusion that she's a good singer, her tone is less than aurally pleasant.

However, when a journalist Lucien Beaumont writes a review of her performance, Dumont misinterprets the barbs within and furthers her delusion of singing to the masses. So, deciding to organise a concert for others to enjoy, Dumont's dysfunctional belief deepens...

Marguerite is a different beast to the all together fluffier Florence Foster Jenkins.

Dividing the story up in to five chapters and setting the whole thing in some sumptuous period details is mightily beneficial.

Unlike the delayed gratification of its Hollywood counterpart, Marguerite wastes no time in showing off Dumont's dismal drone which helps make the film a different beast. Admittedly, there is still no fuller explanation as to why Dumont was encouraged to sing and why no-one took the time to be honest with her, but there are subtleties in this version that hint at the adage of never being cruel to someone face to face.

Interestingly, the film digs deeper into the after effects of Dumont's delusion, with a hospitalisation chapter hinting at a breakdown that doctors are trying to treat. There's a sympathetic touch deployed by Giannoli that's involving, and a tone that's set which is more endearing than a straight out laugh fest.

Unfortunately, if Frot delivers a stronger performance and a more heartbreaking approach in a slightly over-long film, some of the other side plots don't fare as well.

Theret is impressive as the singer brought in early on and a side-plot involving her career and potential relationship with Dieuaide's Beamount is torn asunder from the narrative with a few lines thrown in that make no sense and lead to too much for the audience to draw on.

Macon as the husband and Denis Mpunga as Mandelbos the house servant present nuanced turns as carers for Dumont; the former realising too late the damage his indulgence and laissez-faire attitude have wreaked. Elsewhere Mandelbos is clearly devoted to Dumont and it becomes his way into the film for the rest of us.

Ultimately, Marguerite's folie a deux attitude is more successful than Frears' broader take on the subject. Thankfully, a restrained performance from Frot, covered in earnestness and heart make her Dumont a character not a caricature (an important difference that Frears overlooked) and consequently makes Marguerite a film that gives more of a psychological take on an enigmatic subject.