At Darren's World of Entertainment

Tuesday, 26 July 2016

Perfect Strangers: NZIFF Review

It’s no surprise that a drama’s finally hit on this concept.

And to be fair, the continuing woes over the middle classes in suburbia aren’t exactly original fodder either.

In Perfetti Sconosciuti by Paolo Genovese, there’s an eclipse coming and to celebrate a group of 7 friends are having dinner together. Wisely acknowledging that all phones disrupt any kind of social engagement, one of the hosts suggests everyone places their phone on the table and if they ring or texts / emails come through, it all gets shared with the party.

Goaded under the mantra that nobody has anything to hide, the group agrees – albeit reluctantly in some cases. However, unsurprisingly, secrets abound at this table as this social Russian roulette begins – with domestic dark clouds looming….

Genovese’s drama may be an unoriginal concept, but its execution and delicious premise are nothing short of slick and confident.

The cast of Italian favourites (mostly unknown on these shores) make each of their characters feel eminently likeable in the run up to the dinner party, and each of them has their own foibles waiting to be hoist upon the table. There’s a newly married couple barely to stop touching each other, a permanent bachelor friend who finally has a date, a couple who appears strained – these are all people who have something to lose (why they even agree to this madness is wisely never fully discussed).

As the inevitable twists begin to play out and the truth creeps closer to the surface in many relationships, Genovese’s adroitness with the camera and handling of the revelations is masterful and manipulative in equal measure.

Shocks and deep sudden intakes from the audience are inevitable – and at least one reveal surprises in its casualness, but there’s a lot of discomfort and wriggling around in seats to be elicited from this execution. While it’s to the ensemble’s strength that nobody feels on more morally higher ground than the other, equally none of them feel eminently dislikeable as events progress during the night (though one does feel it’s a little first world problems of the middle class at some points).

Unfortunately in the final run, it risks a reveal too far but it’s a testament to how engaging the cast are and perhaps how close this social experiment may cut to the bone with many that Perfetti Sconosciuti is such a middle-class crowd-pleasing / what would you do resounding success.

Long Way North: NZIFF Review

Animation at the New Zealand International Film Festival is always a joy to behold.
And in director Remi Chaye’s latest, young minds and enquiring eyes get exposed to a female heroine.

It’s the story of teenager Sasha, a young Russian aristocrat, who dreams of the fate of her grandfather, an explorer whose last journey ruined the reputation of the family and who never returned. But Sasha’s never given up on him and restoring the family honour.

It’s with this in mind that she sets out on a journey of exploration that would make even our very own Sir Ed blush.

Stylised and hand-drawn in the vein of Secret of Kells, Long Way North’s narrative shortcomings at its denouement give way to some deeper story telling and ideals within. The film’s about honour in many ways, hope and defying expectations.

There are some narrative contrivances and certainly the end of the film feels slightly rushed and leaves you wondering what’s next. But the animation’s relatively straight too – with the angular faces of the men contrasting with the rounder more welcoming female faces in the mix. It’s a welcome relief to see something that doesn’t rely on CGI to make the point. But it’s rarely better than the opening shot where the young Sasha farewells her grandfather, her blonde tresses marking her out on the dock and signalling here is a heroine who defines convention.

There are plenty of adventurous moments, and a friendship between Sasha and a wolf that many young minds will latch on to – but perhaps more importantly, their exposure to a heroine who’s not content to simply be the trophy at her first coming out ball and who defies the men on the docks to pursue her belief is ultimately more important.

In fashioning these minds, Chaye never loses sight of the execution of the film (perhaps the pacy 81 min run time contributes to some of the slight and lesser feelings experienced) – and while scenes on the icy tundra may leave you shivering as the snow storms blow around the characters, there’s always the warming glow the story will leave the younger generation with.

Truman: NZIFF Review

Bathed in a laconic humanity and blessed with a universal veracity, the friendship bond explored in Truman is touching to say the least.

It's the story of Julian (Ricardo Darin) and Tomas (Javier Camara)- long time best friends and who live in different countries. At the start, Tomas leaves Canada to go see Julian in Spain because of his friend's terminal diagnosis.

With just 4 days, Tomas' arrival stirs some life in stage actor Julian, who's dealing with the diagnosis....

Whereas the desire with films of this ilk is to dwell on the maudlin and drown in the mawkish, Truman's 4 day trip feels more truthful in its execution and consequently more uplifting because of its honesty. There are layered performances from the personable leads here, and both add to the film's sense of dignity and class throughout.

As the catalyst for the reconnection of the two friends simmers, the light that one fires up in the other is easy to understand.

While Julian wonders what will become of his pooch, the titular Truman, and tries to get him adopted, his friend offers the kind of support and the sturdy shoulder to rely on that many of us would hope for in a similar situation.

But as the tale plays out, the bond is evident and the general underplaying works wonders to engage with the duo. There's a playful dry humour running through but never at the expense of the protagonists or situation as it unfurls.

However, it's the empathy of the film and the natural low key performance of the actors within that proves to be the winning factor in Truman (even if Tomas' actions at the end make him a little reprehensible).

Truman offers a surprisingly successful low key buddy flick that resonates; it's a film that works the understated to great beneficial effect and its touching nature may stay with you long after the lights have gone up.

Monday, 25 July 2016

Under The Shadow: NZIFF Review

Tapping into both childhood fears and mining a rich social setting proves to be fertile ground in Babak Anvari's psychological terror Under the Shadow.

Set in the Iran /Iraq war and using the genre conventions of a haunted house /superstitious myth, it's the story of Shideh (Narges Rashidi) and daughter Dorsa (Avin Manshadi). Shideh has been fighting against the patriarchal society to get back to her studies as a doctor, but losing the fight, she's forced to take control of the household when her doctor husband is posted at a facility near the front line on military service.

But as the shadow of the war creeps closer to Shideh's Tehran apartment and the bombings come closer, she refuses to move out. And things get worse when her young daughter starts to believe they're being haunted by a Djinn....

As a first foray into the horror genre, writer / director Babak Anvari's Under The Shadow both simultaneously embraces the tropes of the genre and gives them a new spin, creating something that feels fresh and exciting. The slow burn of the set up allows you to really engage with Shideh's struggle, and then when Dorsa starts to feel threatened, the atmospherics are simply ramped up another notch. (Granted the idea of a kid under threat is perhaps where the film's creepiness really begins to kick in).

Anvari's embracing of autobiographical elements has clearly enhanced the look and feel of the film, but it's Rashidi as the feminist hero and first time child actor Manshadi who really propel proceedings into the stratosphere. Their interaction and the sneaking feeling that Shideh is losing it are nicely set up and in the initial part of the film the seesawing between who is right and who is wrong veers so clearly back and forth that you're never quite sure if the Djinn concept is anything other than in both of their heads.

Mining the rich vein of paranoia and foreboding with the war in the background and the shredding of nerves works wonders for the audience participation and engagement with Under The Shadow.

This is not a CGI driven shock fest, but an introduction of a new take on the genre that feels fresh, exciting and could potentially have legs for others to take over; it feels like even by saying so little, the mythology is deeply set up in this film - and the ending offers up the potential for more. The fact its societal setting says much gives a disquiet and insight that adds much to proceedings.

Original, slow burning and psychologically deft, the unsettling Under the Shadow is a clever take on its genre and it's one not to be missed.

NZIFF Interview with Under The Shadow director Babak Anvari

At the New Zealand International Film Festival, we're quite privileged to get some of the filmmakers here for introductions of their film.

One such director was Babak Anvari, the writer / director of Under The Shadow.

Babak took time after the film to have a brief chat with me about it and the reception it's had on the festival circuit ahead of its UK release.

Sunday, 24 July 2016

Batman: The Killing Joke: Film Review

Cast: Kevin Conroy, Tara Strong, Mark Hamill
Director: Sam Liu

"First off all, before the horror began, there was a time when capes and fighting crimes was really exciting."

So begins the 26th animated DC Universe film, an adaptation of one of the most praised iconic storylines in the series - the origins of the Joker, from a 1988 graphic novel by Alan Moore and Brian Bolland.

However, Batman: The Killing Joke is predominantly the story of Barbara Gordon's Batgirl (narrated brilliantly by Tara Strong) and her relationship with Batman.

The film starts out with more of a background to Batgirl, her abusive relationship with the Bat (he's emotionally cold and distant from her) and her quest to take down a criminal from the Mob who's obsessed with her.

But then, Batman: The Killing Joke segues into the original graphic novel and what you'd expect from the film - lifting panels from the page and transposing the iconic imagery created by 2000AD supremo Brian Bolland.

Vocally, the film's sound with Conroy and Hamill giving their usual all to Batman and Joker respectively. And Strong's particularly, er, strong with her Barbara Gordon - even if creatively the filmmakers appear to turn this Batgirl into someone who is fawning a little over the non-availability of the Batman.

It's an odd choice and along with a controversial sex scene (yep, you heard that right), the Killing Joke appears to have dangerous things to say about the portrayal of Batgirl and women in general. While it's understandable there's plenty of online commentary on Batman's behaviour after his controlling instincts kick in and he ignores after the Bat-booty call, the film's handling of Batgirl in the aftermath is weak.

And given the backstory is supposed to give some drive to Batman's desire to punish Joker for Gordon's paralysis, it's odd to note that the original novel lent more weight to that side of the story by making Joker's inherent cruelty seem more random and therefore nastier because of its cold-blooded nature. As with the novel, there are hints that she suffers a sexual assault as well which seem to be backed up in the film.

Perhaps that's some of Batman: The Killing Joke's strength - it faithfully adapts the novel in a way that enhances the original and embraces some of Bolland's original artwork.

But potentially, a lot of the back half of the film is weaker anyway, with the set-up being the more interesting elements of Batman: The Killing Joke; as with most comic books, denouements tend less to hold water and flounder in the face of such story-telling odds. Flashbacks weave into an origins story for the Joker as per the original, and Hamill engenders his Joker with the definitive touches.

All in all, even with the controversial elements and an ending that is up for discussion after these two yin and yang nemeses share a joke, the over-riding feeling with Batman: The Killing Joke is that it's an animated tale that is more Batgirl's story.

Whether that's a good thing, or whether the joke's on the audience, time will perhaps tell.

Embrace: NZIFF Review

Much like fellow Aussie Damon Gameau and his quest against the undeclared sugars in our diet, Body Positive movement founder Taryn Brumfitt is hoping to make a change.

With this brisk energetic documentary, Brumfitt's desire to shake up the way we see ourselves first and foremost won't come as a surprise to many who feel the fashion industry and society itself is in need of a change.

They say every picture is worth a 1000 words, and in Brumfitt's case, it was a picture that sparked a 1000 stories - predominantly to her in-box. Posting a non-traditional after image of her body after having had three kids and placing it side-by-side a picture of her winning a body building competition before, her social media was inundated with positivity - and negativity.

And deciding last minute to reject a cosmetic procedure over worrying what message that would send to her young family, Brumfitt decided to do something more positive.

With crowd-funding involved, Brumfitt decided there was something further to explore here and it was time to take on the perception of women in the western world - and more importantly, empower those looking in the mirror that there's nothing wrong with what they see.

Complete with her red-rimmed glasses and bubbly effervescence, Brumfitt's world trip sees her frankness and openness charm, and she never steers into overt lecturing, preferring instead to let people speak for themselves and consequently inspire her audience.

There's no denying there will be relative whoops of delight when she places all her societally perceived flaws on display with a frank openness that's hard to disparage or mock. In among decrying that she had nipples the size of dinner plates and seeing a cosmetic surgeon claim her body could be enhanced in certain ways when there's nothing inherently wrong with it, Brumfitt's honesty and universal relatability will win over an audience.

The pacy doco may lack some commentary or riposte from the fashion industry it so readily looks to accuse (much like Gameau's That Sugar Film lacked any official response) but given its crowd-funding nature and its inherent positive desire to inspire women and everyday people, it seems only right that the stories and screen time is devoted to those who make up our society rather than those who photoshop it into oblivion dishing out excuses as to why it's valid.

While talking to the likes of celebs Ricki Lake, Amanda de Cadenet to model Stefania Ferrario all have merit, the true strength of the doco comes from time spent with Turia Pitt whose life was changed by a marathon and a bush fire that ravaged her looks and a skinny gaunt girl called Tina, whose tearful declarations will do more to force anger over perpetuating the stereotypes.

Peppered with vox pops over flaws from everyday people further fuels the fire that many are unnecessarily unhappy with their self-worth in a society obsessed with celebs and selfies. Brumfitt doesn't need to over-egg this pudding, the evidence in the body image debate is already overwhelming based on her meet and greets throughout.

One suspects as far as Brumfitt's concerned, even the spark of discussion is a major win for what's important - and Brumfitt's authenticity and entry into the body movement debate may grow the swelling feeling of getting back to what matters in life and not buying into what the social media obsessed world says is important. Presented in non-didactic fashion and with a pace that's energetic rather than lecturing, it's easy to see why it's helping galvanise the body image debate.

There's no denying that Embrace is a rallying cry, a genial non-polemic call from the floor to remember what's actually important in life, and to self-worth. If it inspires an epiphany in anyone viewing or sparks a conversation over perception, then that's no small victory whatsoever.

Saturday, 23 July 2016

Captain Fantastic: NZIFF Review

Revelling in as much quirk as is cinematically possible and throwing kids into the mix on a road trip film certainly worked well for Little Miss Sunshine.

And to a degree, large parts of it are reused in Captain Fantastic, screenplay and director Matt Ross' film.

Starring Viggo Mortensen as Ben, it's the story of how his brood, who live life off the grid in the woods are forced into the wilds of American civilisation when Ben's wife kills herself. Deciding to gather up the clan and go and rescue her from the horrors of a Christian funeral as per her own wishes, Ben throws his brood onto the bus (named Steve) and sets out on their mission.

Embracing its anarcho-survivalist and pseudo intellectual edges, Captain Fantastic manages to pack in a great deal of humour at the idea of kids trotting out offbeat mantras, from celebrating Noam Chomsky's birthday instead of Christmas and from just generally mining unexpected language from young children's mouthes.

And while Mortensen shines, imbuing Ben with both a sensitivity of belief and a deep love for wanting what he believes best for all, the script's over-reliance on reaction shots to those encountering Ben and his brood for the first time begins to ultimately grate as the road trip moves from point-to-point with nary any reality within.

It serves as a vehicle to pour commentary on America's current obsessions - and indeed a billboard with "Is it immigration or is it invasion" on it feels scarily timely as they rumble toward a Trump-fuelled election.

But when Captain Fantastic lays off the twee quirk and the indoctrination of a doomsday preppers type ethos, it tries desperately - and inevitably - to inject drama and conflict from Ben's beliefs and others' objections to them.

It doesn't always work, simply because the film's solely (and perhaps understandably) on Ben's side (and ultimately the audience as well) and never wants to offer any kind of alternative. The conflict in the last third of the film with Frank Langella's reasoned father in law seems shoe horned in and unable to allow any consequence to flow; loosely, the father in law wants custody of the children out of anger for what's happened and this narrative thread simply melts away out of convenience rather than from resolution. And a thread over a son's desire to go to college or another's rebellion are given meat early on but don't amount to anything when faced with the love of their father.

It's maddening to say the least, given how wonderfully shot and crowd-pleasing the whole thing is - thankfully, it's helmed by Mortensen's turn as Ben, and when he delivers a eulogy and has his inevitable long dark night of the soul, there's a real poignancy to the moral struggle within - and that's solely testament to Mortensen's presence on the screen.

Otherwise, this culture clash dramedy feels like a hollow experience that revels in its absurdity and trades on a caricature of happy / sad to achieve its emotionally manipulative aims.

Notes on Blindness: NZIFF Review

If there's perhaps an irony that a film about blindness has committed some of the most beautiful and evocative imagery to celluloid, then Notes on Blindness would do well to embrace the irony.

After years of failing sight, Birmingham professor of theology John Hull became completely blind in 1983 and began keeping an audio diary. The ethos behind that was his singular belief that if he didn't understand blindness it would defeat him.

Using Hull's original tapes as well as interview material and with actors lip synching the tapes and taking part in re-enactments, the BBC Storyville strand documentary helmed by filmmakers Peter Middleton and James Spinney is simply put, eloquently mind-blowingly sensual (and has shades of the reflective nature of Terence Malick's Tree of Life).

It helps the source material from Hull is both insightful and honest, with aching admissions that he's begun to forget what his wife looked like, or places from his childhood are fading, as well as the ultimately depressing feeling of being unable to see his new-born children or hearing their cries of delight at Christmas without any visual context.

It's these tacit admissions that begin to give a view of Hull's mind's eye and the world within. But by using hauntingly lyrical imagery that serves as memory or snapshots thereof, what Spinney and Middleton have done in this eye opening film is to commit to celluloid something inspiring and in many ways, a visual representation of what you always imagine life will look like when it apparently flashes before your eyes before you pass.

Past recollections loop in and out, images of eyes close up and simple images of grass blowing in a field unencumbered by anything other than sound show an ingenuity in translating the material and helping inspire others. It's all held in by a wall of sound that emanates from the screen that breathes extra life to the world within.

While acceptance for Hull himself gradually brings clarity of vision and purpose, the filmmakers bring life to a world many of us would hope never to experience and an empathy to those who already do - it's bravura stuff, stylishly and simplistically set in motion.

In one scene, Hull reveals how standing by his home's front door and listening to the rain gives contours to the world around him and how he wishes there could be rain inside a house so he had ideas of depth and a sense of dimension. The following shots of rain pouring within are almost transcendant in their beauty and ingenious in their execution. (It helps the source material is so eloquent and thoughtful as you'd expect of a professor, but not once does it ever wallow in pity, offering a painfully intuitive view into the world of Hull and those around him).

Lyrical and insightful, honest and heart-aching in equal parts, Notes on Blindness is handled with sensitivity, with visual aplomb and with such shrewd astuteness that it's ultimately profoundly moving.

Newstalk ZB Review - Star Trek Beyond, Swiss Army Man and 10 Cloverfield Lane

This morning on ZB with Jack Tame, I took a look at the new Star Trek film, took a break from the New Zealand International Film Festival to talk Swiss Army Man and talked one of the year's best in 10 Cloverfield Lane.

Take a listen below:

http://www.newstalkzb.co.nz/on-air/saturday-morning-with-jack-tame/audio/darren-bevan-star-trek-beyond-swiss-army-man/

NZIFF: NZ's Best Jury Announced

NZ’s Best Jury Announced

The New Zealand International Film Festival (NZIFF) today announced producer Carthew Neal and author Emily Perkins will join the jury of NZIFF’s 2016 New Zealand’s Best Short Film Competition.

Carthew Neal and Emily Perkins will join Buffy McKinnon, representative for Madman Entertainment, to judge six short films selected by Lee Tamahori, at a public screening of New Zealand’s Best 2016 in Auckland on Saturday 23 July.

“The competition is now in its fifth year and we’re pleased to continue a diverse jury line-up for the New Zealand’s Best competition. Emily Perkins’ experience spans both the literary and film worlds with her great success as an author and her recent work in adapting Eleanor Catton’s novel for the big screen. Carthew Neal’s box office success with Hunt for the Wilderpeople makes him one of the most sought after producers in the industry. We look forward to their individual contributions to the judging task at hand in selecting New Zealand’s Best for 2016,” says NZIFF Director Bill Gosden.

The jury will select the winner of the $5,000 Madman Entertainment Jury Prize, while a $3,000 Wallace Friends of the Civic Award will be awarded by donors the Wallace Foundation and Wallace Media Ltd, to the film or contributor to a film they deem to merit special recognition. (The King, supported by Wallace Media, is not eligible for this prize.)

The winners will be announced at the closing night event of the Auckland leg of NZIFF. The six finalists are Spring Jam (dir: Ned Wenlock), Cradle (dir: Damon Duncan), Wait (dir: Yamin Tun),Shmeat (dir: Matasila Freshwater), Judgment Tavern (dir: Dean Hewison), and The King (dir: Ursula Grace Williams).

Guest selector and international filmmaker Lee Tamahori selected the six finalists from a shortlist of 12. Festival programmers Bill Gosden and Michael McDonnell viewed 81 entries to prepare the shortlist.

The New Zealand’s Best competition also includes an Audience award. Audiences in Auckland and Wellington will be asked to vote for their favourite, with the winner taking home 25% of the box office from the Festival screenings in the four main centres – in 2015 valued at $4,800.

About Emily Perkins

Emily Perkins is the author of four novels, including Novel About My Wife, and a collection of short stories, Not Her Real Name. Her short stories have appeared in various anthologies. She teaches creative writing at The University of Auckland, and hosted TVNZ7’s book programme The Good Word. Emily worked with Alison Maclean to adapt Eleanor Catton’s The Rehearsal for the screen. The Rehearsal will have its world premiere at NZIFF 2016.

About Buffy McKinnon

Buffy has been an integral part of the Madman Theatrical Sales team for the last three years. Buffy has worked on the New Zealand theatrical releases including That Sugar Film, What We Do in The Shadows, The Dark Horse and The Deadlands. Most recently she was part of the highly successful distribution partnership between Madman and Piki Films on Hunt for the Wilderpeople, now the highest grossing New Zealand film of all time. Prior to Madman Buffy obtained a Bachelor of Arts degree in Film from the University of Canterbury.

About Carthew Neal

Carthew is a well-respected television, film and interactive producer, who formed Piki Films with filmmakers Taika Waititi and Leanne Saunders. Neal has just produced Taika Waitit’s Hunt for the Wilderpeople and feature documentary, Tickled both premiered at Sundance 2016. Tickled screened at NZIFF Autumn Events 2016 and is now on release in the USA.

NZ films at NZIFF are proudly supported by Resene. 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. NZIFF 2016 dates are:

Auckland 14 – 31 July

Wellington 22 July – 8 August

Christchurch 28 July – 14 August

Dunedin 4 – 21 August

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

The First, The Last: NZIFF Review

If it’s answers you’re after then the slightly surreal Belgian film The First, the Last is not the place to find them.

Two bounty hunters Cochise and Gilou (Albert Dupontel and Bouli Lanners) are given the job of tracking down a cellphone. World weary but determined to take one last job, Gilou has health matters on his mind.

However, their road trip is made worse by the fact those who’ve taken the phone aren’t leaving it switched on to encourage tracking. The young duo, Willy and Esther, believe the world is about to end, and have a mission of their own – but their route is blocked by criminal gangs all after the same thing.

And waters are further muddied by the appearance of a bedraggled wanderer by the name of Jesus…

Enigmatic to a fault, and aesthetically grubby and grimy, The First, The Last is a crime road trip flick that revels in its visuals. Grubby and grimy, this is a world that’s complicated by stormy skies permanently rolling overhead.

In one of the great brooding cinematic shots, Esther and Willy head along a bridge shot from afar, looking like two dots peddling furiously against an inevitable apocalypse. It’s a bravura big screen shot that stands out among the obtuse, dry wry wit that pervades part of it.

Allusions more than answers are forthcoming; in one of the film’s great ambiguities, Jesus is shot clean through the hand (Stigmata anyone?) but director Bouli Lanners prefers to leave the image open to interpretation, infusing the whole thing with an obfuscating sheen that’s both intoxicating and infuriating in equal measures.

Max Von Sydow enlightens proceedings at a funeral, and provides the film's one moment of heartfelt earnestness as he sings as a body's buried. There's plenty of imagery and moments to revel in here as this No country for older men rumbles menacingly on.

Existential chat, a bad guy who resembles Anton Chigurh, end of the world iconography – they’re all here for the interpretation and for a festival experience that’s more about what the audience wish to take away from it, rather than what easy answers present themselves.

Friday, 22 July 2016

2K Reveals New Mafia III “Death Suits You” Live Action Trailer

2K and Hangar 13 today revealed a new live action trailer for Mafia III, titled “Death Suits You,” featuring an intense new look at Lincoln Clay’s world of New Bordeaux and the enemies he faces.

As the New Bordeaux Police continue working around the clock to end his bloody turf war, the legend of Lincoln Clay continues to grow. Even outside of “Bourbon City” people want to learn more about the man declaring all-out war against the mob in Mafia III.

This short cinematic look at Lincoln’s world examines what he has endured. The Mafia III – Death Suits You trailer will be featured at the San Diego Comic Con as part of a Screen Junkies Live Movie Fight Panel, featuring celebrity actor/director Kevin Smith.

F1 2016 Attract Trailer Showcases New Features

New F1™ 2016 Attract Trailer showcases new features

SYDNEY, 22^ND July 2016 - Codemasters® have today released the latest gameplay video for F1 2016, the official videogame of the 2016 FIA FORMULA ONE WORLD CHAMPIONSHIP™. The new attract video shows action both on the track and in the pit lane, recreating key moments from the year and highlighting many of the game’s key features.

Available from 19^th August for PlayStation®4 computer entertainment system, Xbox One and Windows PC (Steam), F1 2016 boasts the most in-depth Career mode ever seen in the franchise which allows players to create their own legend over the course of ten seasons. The player selects an avatar and number to carry throughout their career as well as the team they want to start with. Players are able to move between teams or they can choose to develop a team into a championship contender by working with their Research and Development Engineer and Player Agent to develop their progress.

The Formation Lap will feature for the first time in the game’s history as does the brand new Virtual Safety Car which accompanies the return of the regular Safety Car, a fan favourite. The level of immersion has been further enhanced by the inclusion of manual starts and manual pit lane entry and braking – all vital to avoid losing time, penalties and track position.

With multiplayer support for up to 22 drivers, F1 2016 allows players to form a full grid of human players across the 21 circuits featured in the 2016 FIA FORMULA ONE WORLD CHAMPIONSHIP, including the tight Baku street circuit, the latest addition to the calendar. In single player, gamers are able to create their own legend in the expansive Career Mode which stretches for up to ten seasons and includes drama both on and off the track.

F1 2016 Limited Edition includes the ‘CAREER BOOSTER’ DLC PACK, which will give players a head start in their career as well as exclusive Career Helmet and Laptop designs.

Follow Codemasters F1 games blog and social channels on Twitter and Facebook for future updates. Further details will be released on the upcoming game soon.

DRAGON QUEST BUILDERS Arrives this October

DRAGON QUEST BUILDERS ARRIVES THIS OCTOBER

Exclusive Day One Edition Digital Content and Box Art Revealed

SYDNEY, 22^ND July 2016 – Square Enix Ltd., today revealed details of the “Day-One Edition” of its all-new block-building adventure, DRAGON QUEST BUILDERS™ - arriving across Australia & New Zealand on 13^th October.

Players who secure the Day-One Edition will receive a selection of exclusive in-game item recipes that allow for the creation of materials for use in the game’s Terra Incognita (Free Build) mode, including;

Springtide Sprinkles Recipe - Transform trees into festive Cherry Blossom Trees and soil into comfortable Straw Floor Blocks
Slimy Blocks Recipe – Craft delightful blocks adorned with cute blue Slimes
Gold Blocks Recipe – Show off your opulent side with blocks made of pure gold

In DRAGON QUEST BUILDERS, players will use their creativity to build a variety of unique tools from the materials they gather, and rebuild towns and cities to restore life to the shattered world of Alefgard– a human realm destroyed and plunged into darkness by the menacing ruler of the monsters, the Dragonlord. Explore with the freedom of sandbox gameplay, combined with an immersive and charming DRAGON QUEST® story – battling with iconic DRAGON QUEST monsters and interacting with gorgeously designed 3D characters along the way. With an intuitive control system, DRAGON QUEST BUILDERS will have you building the towers and castles of your dreams in no time!

DRAGON QUEST BUILDERS will arrive across Australia & New Zealand on 13^th October 2016f or the PlayStation®4 Computer Entertainment System and PlayStation Vita (digital only). For more information visit: www.dragonquest-game.com

HITMAN - Gary Busey 'The Wildcard' Elusive Target Now Live

SYDNEY, 22^nd July 2016 - Hitman’s seventh elusive target – The Wildcard - is now live!

Be sure to prepare. There are no second chances.

To watch the HITMAN Elusive Target #7 video ‘The Wildcard’, please visit: https://youtu.be/kSwNtylvv_g

Following the successful online campaign to ‘Choose Your Hit’, fans voted for Gary Busey to appear in HITMAN as an Elusive Target. This is an odd one, but nothing you can’t handle. The Wildcard will be in Sapienza for 168 hours (7 full days) and there are no second chances.

Elusive Targets will appear for a limited time only. They can only ever be killed once. Intel will be limited. Plan carefully. If you die during the mission… That is it.
When time runs out, they are gone for good. DON’T MISS OUT

For more information on this specific Elusive Target: https://hitman.com/news/elusive-target-7

PAC-MAN CHAMPIONSHIP EDITION 2 coming soon to console and PC

PAC-MAN CHAMPIONSHIP EDITION 2 coming soon to console and PC!

Frantic maze running, big boss battles, and loads of new content set the stage

for PAC-MAN’s newest videogame outing

Leading interactive entertainment company BANDAI NAMCO Entertainment Europe S.A.S. today announces PAC-MAN CHAMPIONSHIP EDITION 2, the highly anticipated sequel to 2007’s smash hit PAC-MAN CHAMPIONSHIP EDITION and its follow-up hit from 2010, PAC-MAN CHAMPIONSHIP EDITION DX. PAC-MAN CHAMPIONSHIP EDITION 2 will be availableexclusively in digital form for the PlayStation®4 computer entertainment system, Xbox One, and STEAM® for PC and is scheduled to launch in September 2016.

Currently under development at BANDAI NAMCO Studios Inc. in Tokyo, Japan; PAC-MAN CHAMPIONSHIP EDITION 2 features new eye-popping 3D mazes with unique visuals, a wide variety of dynamic mazes, the new ability to bump ghosts, and the addition of intense giant sized ghost boss battles. The new game will also build upon PAC-MAN Championship Edition DX’s “Chain Eating” mechanics by enabling fans to build up to four ghost trains before chowing down for maximum chompage points. PAC-MAN CHAMPIONSHIP EDITION 2 returns with the fan favorite Score Attack mode where players need to gather as many points within a specified time and a new Adventure mode that will have players chasing fast moving fruits, battling big bad bosses, and experiencing fun new ways of playing PAC-MAN.

PAC-MAN CHAMPIONSHIP EDITION 2 will be released in Europe, Middle-East, Africa and Australasia in digital form for the PlayStation®4 computer entertainment system, Xbox One, and STEAM® for PC in September 2016.

Call of Duty Announces Terminal Bonus Map and Debuts New Infinite Warfare Gameplay

Hi there,

Following the Call of Duty: Infinite Warfare panel at San Diego Comic-Con, we’re pleased to announce that Terminal is back!

The fan favourite multiplayer map originally featured in Call of Duty: Modern Warfare 2, has been reimagined in Call of Duty: Infinite Warfare. Now a shuttle port on the Moon, the breathtaking new environment will accommodate for new gameplay, whilst raising the bar visually. Attached is a concept art image of Terminal.

Those who pre-order Call of Duty: Infinite Warfare will receive the Terminal map. Call of Duty: Infinite Warfare is scheduled for release November 4^th on PlayStation 4 and Xbox One.

Also on debut at Comic-Con, was new gameplay from Call of Duty: Infinite Warfare. Showcasing the single-player campaign, the footage demonstrates the incredible gameplay innovations and new experiences found within the game.

Win a Poi E : The Story of Our Song prize pack

‘Poi E’, a simple song with a catchy beat released 32 years ago, has become New Zealand’s unofficial national anthem.

With humour, energy and emotion, the movie POI E is the story of how that iconic song gave pride to generations of New Zealanders.

From Taika Waititi giving Stan Walker his quirky take on life in the 1980s to Patea Maori Club members’ straight-talking and funny memories of the song’s visionary originator Dalvanius Prime, director Tearepa Kahi (Mt Zion) captures a unique story that taps into the heart of the nation.

Poi E : The Story of Our Song is in cinemas from August 4th

To celebrate the release of Poi E : The Story of Our Song, I've got double passes and T Shirts to giveaway.

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

Please include your name and address and good luck!

Competition closes August 4h and is exclusive to New Zealand only!

Everybody Wants Some!!: NZIFF Review

If Linklater's Boyhood was the tortured route to adolescence made magnificent by its 150 minute canvas, Everybody Wants Some!! is the tonal antithesis, a tacit recognition that the good times do eventually come.

It's 1980s Austin and the weekend before college classes first begin. It's a time of infinite possibility, of freedom and as the very first scene sets out, of music.

The film follows freshman Jake (Blake Jenner) as he joins the baseball team ready for his first year of classes, boozing and bro-ing. Set over the first weekend before it all kicks in, it's a hedonistic 72 hours of trying to fit in, finding your place and falling in love, all against a nostalgic backdrop of disco bars, endless bongs and beers and typical jostling competitive jockeying chat.

But before you dismiss Richard Linklater's latest as just another variation of Dazed and Confused, soaked in the fashions and sounds of the time, don't. This paean to male bonding, to the competitive nature of the pack and of finding your place in the world after being a hotshot at school and placed in a world full of hotshots, is a pure blast of breeziness.

While the ensemble cast are good among their horrific moustaches and paisley decked fashion gear, it's Jenner and Glenn Powell as Finn who stand out. Jenner with his fresh-faced innocence is our everyman but he never plays it goofy; and Powell is the good-time, good guy who espouses advice and is the glue that holds them all together. Sure, we have the goofball power-crazed nut in the form of Juston Street's Niles, all terrible hair and red glasses, but even he's infused with a team ethos and a desire to fit in that his character quickly goes from Napoleon Dynamite caricature to one of the gang by the end of the weekend.

As the sole girl who's not one of the endless parade of women hit on by all the guys, Zoey Deutch as an arts student that Jake falls for is a breezy charm in an auburn haired package - sweet and disarming but with an innocence that college romances are made of, her presence is a welcome bookend and with Jake's confession to his bros that he "likes her", you know these two will be college sweethearts.

But in among the banter, the discussion over booze and bongs, it's Linklater whose eye for period detail stands out.

Whether it's the spot-on music choices (opening with the Knack's My Sharona and an open road is inspired) or the accurate detail of the arcade from its KISS pinball to its Space Invaders, every detail of this era rings reminiscent and true. However, he also injects a geniality into his protagonists and casts a humanity over them that makes the 2 hours engaging and alive - and almost has you devastated when the weekend ends and the tedium of school begins.

Everybody Wants Some!! is veritable keg party of a film that speaks to freedom of youth; granted its light and breezy narrative and broad tone may feel slight to some, but it's a tacit admission to what makes growing up's experiences so important, an autobiographical film of growing up to fit in as a bookend to Boyhood, and a film soaked in such nostalgic hues that you can't fail to be moved into memory by its antics and its ethos of being on a team among the vitality of friends as you get ready for life's curveballs.