Yakuza 6: The Song Of Life: PS4 Review

Yakuza 6: The Song Of Life: PS4 Review

Released by SEGA

Platform: PS4

What is it about the Yakuza games which make them so appealing?

Is it the fact they've transcended their apparent early Grand Theft Auto origins to become something of their own cultural touchstone?

Or is the fact that the world that developers Sega has created is one that makes time more than worth staying in?

Certainly, the latest - and final iteration of the franchise - does much to ensure that the player's desire to be part of Kazuma Kiryu's world and quests are more than worth every minute you're there.

But yet, there's also something else - particularly with The Song Of Life.

It's the personalisation of the story which makes it worth dwelling in.

This time around, Kazuma Kiryu has to track down whoever is responsible for a terrible crime and who has left him literally holding the baby. It's here the mechanics of the game don't change again, with Kazuma violently going about dealing with extracting confessions and beating evidence out of suspects while dealing to those who generally accost him.

Combat is simple and as fluid as ever, with items around to be grabbed upon, used and smashed as often as heads are together. It's nothing radical from the past, and there's the usual confusion over grabbing and punching with the controls from time to time.

Much effort's been thrown into the cinematics of Yakuza 6: The Song Of Life as well, with long substantial cut scenes scything through the action. But for a finale, one can suppose that's excusable, even if occasionally it feels like an irritation, no matter how beautifully they are executed.

Thankfully, a swathe of mini-games make the Yakuza way of life tolerable - from dealing with the baby to karaoke, there's much here to be admired and to help you escape from the darker edges.

Ultimately, Yakuza 6: The Song Of Life is a good conclusion to the franchise; epic in many ways, but smart enough to make sure that the intimate is never forgotten, Yakuza 6: The Song Of Life is a fittingly engaging end to a franchise.

Bad Moms 2: DVD Review

Bad Moms 2: DVD Review

A year ago, Bad Moms came hurtling out of the traps, to offer a female alternative to the male-led comedy domain.

A success, thanks to its foul-mouthed edges and relatable leads, it was inevitable a sequel would show up to build on the box office plaudits of the first.

This time around though, while the formula still offers some laughs, it feels like the subject doesn't feel as fresh - despite the attempts of all involved to try and keep it bubbling over.

Building on the pressures of conforming to societal norms expressed in the first, the latest is, as the title suggests, set at Christmas and sees Mila Kunis' Amy, Kristen Bell's Kiki and Kathryn Hahn's Carla determined to reclaim back the festive season when their mothers come to town.

But as the pressure to make everything perfect unfolds, the pot begins to boil over....

Once again, setting the film against a backdrop of relatability helps Bad Moms 2 achieve a degree of familiarity once again. However, while there are a few laughs throughout (potentially more if you're a group out on a night out or imbued with alcohol), there's not quite enough as the Hangover style opening of a trashed house (complete with camel walking into shot) would suggest.

It feels a little less fresh this time, and some may even say rushed in parts as the script shows cracks; most of the film feels like mini-episodes sewn together with such a laissez-faire attitude that it makes it hard to fully engage with what's going on.

And the trio of mothers who end up visiting their broods are so ghastly, not once do you ever feel anything but from the oppressed younger mums' point of view. Sure, it ends up in the usual gloop of sentimentality that tars all festive films - but there are a few raucous laughs to be had, mainly from Hahn's foul-mouthed member of the group.

Kunis and Bell are fine, but don't have nearly as much to work with this time around - and whilst it's good the male element are sidelined this time around (aside from one skin-crawlingly unamusing fat-shaming Santa sequence), there's little that feels as enticing this time around.

Baranski is the best of the bunch, even though Sarandon's rocker hits fast and loose to start off with. It's Baranski as Amy's mum who delivers some of the best deadpan sneering moments and manages to get the rankling sideswipes that family members dish out so well downpat.

Best viewed with a non-critical head and with a group of friends, it does feel like A Bad Moms Christmas is the contractually obliged sequel in a series that's already worryingly out of ideas. Inevitably perhaps the next one will be Bad Moms Summer Holiday, but unless there's a stronger script and more to go on than the recognition of universal truths faced by mums and their mothers, the Bad Moms franchise could undo all the good will its strong leads have already garnered.

Better Watch Out: DVD Review

Better Watch Out: DVD Review

Mixing Home Alone with Lionel Shriver horror cum Loved Ones nasty seems like a neat twist on the usual concept.

Chamber horror piece Better Watch Out aka Safe Neighbourhood manages to make it partially work but there's a distinctly uncomfortable after-taste left as it plays out, despite the snowy Christmas setting.

DeJonge plays babysitter Ashley, who's left in change of Levi Miller's Luke when his parents (Patrick Warburton and Virgina Madsen) head out on a festive night out.

Luke's been desperately in love with Ashley for years and decides tonight's the night to make his move and his feelings known. But things go awry when it appears there's a stalker outside threatening the pair of them...

To say more about Better Watch Out is to reveal spoilers, but suffice to say that its three-hander initially starts off well, with a tart and bitter taste to offset the usual saccharine setting of the Christmas film.

But this thriller strays a little too uncomfortably into unsettling territory, given current climates and the Weinstein saga, and its victimisation MO sits queasily more than anything else.

It's not to detract from any of the central performances and the intriguingly acerbic tone early on.
However, what transpires later in the film is just nigh on nasty with its darkness and the flip in tone is either going to appeal or see you running for the hills.

Mixing Home Alone vibes (and Carol the Bells) with the horror genre yields mixed rewards for Better Watch Out.

Usual horror films see you invested in certain characters and while Better Watch Out effectively tries to subvert and undermine what you're expecting to see, it does it with such viciousness that it's borderline schizophrenic and sadistic.

That may be some of the point here, but when the villain of the piece is revealed a third of the way in, the film shifts its horror tropes for a psychological edge that's as uncomfortable as it is confronting.
Perhaps it's a statement on the evil perpetrated by some intruding into the rich kids suburbs but the film delights in its nasty nefariousness.

There's an unsightly wickedness which haunts this holiday season flick and while it's to be commended for doing something a little different, the desire to not exactly condemn its perpetrators is as unsettling as you'd expect. Especially in these sex-accused times, and post-Weinstein world we live in.

You'd Better Watch Out indeed - because naughty or nice, this film has a way of getting under your skin in the most uncomfortable way possible. And that's not necessarily a good thing.

The Man Who Invented Christmas: DVD Review

The Man Who Invented Christmas: DVD Review

Cast: Dan Stevens, Christopher Plummer, Jonathan Pryce, Miriam Margoyles
Director: Bharat Nalluri
The Christmas onslaught of movies is now upon us.

And while some titles will sleigh, sorry, slay your will to live, Bharat Nalluri's The Man Who Invented Christmas is actually a lively flick that meshes Dickens with elements of Doctor Who and the Muppets Christmas Carol.

A rather madcap Stevens plays the author Charles Dickens, who's touring America on the success of his books. But in October 1843, following three flops, his career was flatlining.
Deciding to self-publish his next release and despite the financial pressure of having to provide for his family, both near and estranged, as well as a generous nature which sees him giving those less well off than himself, Dickens may have bitten off more than he can chew.

With deadlines fast approaching and ideas barely forming due to interruptions, Dickens is facing disaster....

The Man Who Invented Christmas is the kind of knock-about drama fare that laces Christmas feelings with the much beloved story of A Christmas Carol.

At times, like an author's fever dream, the script and pace races through Les Standiford's The Man Who Invented Christmas with such aplomb you worry that it won't all hold together.

Channeling elements of both Doctor Who's Tom Baker, foppishness and boggling eyes, Stevens' hyperactive Dickens feels more like literary necromancer rather than fully-formed literary genius but the titular romp certainly breathes a great degree of life into a well-worn tale.

More successful are the moments which see Dickens proffering a peek into the formation of characters which then go on to haunt him until the book's done - much like Marley's ghost and the others stalk Scrooge.

Plummer, as Scrooge delivers a venerable turn, managing to pull in some earnest touches on the miser; equally, Susan Coyne's script is peppered with knowing winks and nods to other Dickens' material - at one point, he meets a policeman called Copperfield.It's these touches and the general knockabout feel of The Man Who Invented Christmas that mean it never quite outstays its welcome.

While some of the flashbacks and the daddy issues feel a little trowelled on, most of The Man Who Invented Christmas is spiffingly amusing and deftly delivered.

There's a great feel of the familiar being given a fresh once-over and while most Christmas fare can be stifling with mawkishness, Nalluri (Spooks: The Greater Good) handles it all much better than any seasonal visit from the in-laws. 

Justice League: Blu Ray Review

Justice League: Blu Ray Review

Cast: Ben Affleck, Gal Gadot,  Jason Momoa, Amy Adams, Ezra Miller, Henry Cavill, JK Simmons, Jeremy Irons
Director: Zack Snyder

The Avengers had it after numerous build up films, and while Suicide Squad signalled DC's intentions to let the baddies have all the fun first to cinematically buck the team-up trend, it was perhaps inevitable that the squad team up event would ultimately arrive.

And that it has now - albeit more with dramatic deja vu and some moments that genuinely engage and amuse among the appallingly executed and shonky CGI - should come as nothing of a surprise to those who've been following the rapidly-bloating superhero genre.

Following on from Snyder's much-derided Batman v Superman: Dawn of Justice and the critical success of Patty Jenkins' Wonder Woman, Justice League arrives with a degree of weight of expectation to see if DC can properly launch a squad franchise for future incarnations. (Though baffingly, Jason Momoa's Aquaman will get an origins film after this one releases).

With Superman dead after the tussle with Batman, the world's awash with chaos, with an increase in terrorist events and general hoodlums.

As if that's not enough, Batman's wandering around in a kind of funk, awash with ennui and with hair flecked with grey - even Alfred (Irons) wryly notes at one point that one misses the days when the biggest problems they faced were wind-up electronic penguins.

Diana Prince (Gadot, a little less wooden this time around) is faring a little better, protecting those in peril and persuading Bats that they need more people on their team to help combat a growing problem, which threatens the world and as usual, involves a MacGuffin.

Enter Ezra Miller's Barry Allen aka The Flash, the quip machine and nerdy heart and soul of the piece. His touch of levity doesn't go too far a la Thor Ragnarok, but signals DC's intentions to perhaps add a degree of humour.

Sadly, he's the only one of the new additions who's not saddled with reams of exposition for their introduction - unlike Ray Fisher's Cyborg, and Jason Momoa's Hawaiian influenced Aquaman. Their involvement isn't so much shoe-horned in, but clearly laden with necessity that could have been cleared up in an origins film.

The main issue with Justice League isn't so much that DC's pulled together something that feels like a revamp of intentions for the DCEU, but more that due to superhero cinema overflow, feels like a rather unfortunate piece of deja vu, that suffers once again from a lacklustre villain and definite feeling of lack of threat to all. It certainly undoes some of the good work done by Wonder Woman in terms of narrative and execution.

A series of cubes that threaten the world - pretty sure that was in an Avengers film.
A series of flying insect creatures that threaten the world - again, pretty sure that was in an Avengers film as well.

The sense of deja vu in this heroes assemble film is almost stifling, it feels like much is an identikit of all-too-familiar elements and tropes.

Its denouement is perhaps its weakest point, a muddled mess of CGI weakness that feels dark, muddied and narratively laughable thanks to its deus-ex-machina.

And while for a DC effort, there's no denying this is a massive step-up in terms of delivery and signalling of intent, it never quite reaches any highs that you'd hope for, and settles more for a run-of-the-mill middle of the road blockbuster that's let down poorly by badly executed CGI and a rote plot.

Ultimately, while there are parts of Justice League that show the DC universe is righting itself, there are not enough of them on show in the film among the dullness that pervades. There's no denying Justice League is the creative leap that DC wanted, but there's also a persistent nagging feeling that the genre is reaching the end of its shelf life, and this should-have-been hit-it-out-of-the-park piece is more a film that never managed to convince itself to reach for greatness. 

Dragon Quest XI Announced

Dragon Quest XI Announced

DRAGON QUEST XI ARRIVES THIS SEPTEMBER

The Epic Beginning to a New Adventure for PlayStation 4 and STEAM

SYDNEY, 29^TH March 2018 – Square Enix Ltd., today announced that DRAGON QUEST® XI: Echoes of an Elusive Age™ will be available for the PlayStation®4 computer entertainment system and STEAM® on 4^th September 2018.

DRAGON QUEST XI is the long-awaited eleventh entry to the series from series creator Yuji Horii, character designer Akira Toriyama and composer Koichi Sugiyama.

The game follows the perilous journey of a hunted Hero who must uncover the mystery of his fate with the aid of a charismatic cast of supporting characters. With a quest that takes players across continents and over vast oceans as they learn of an ominous threat facing the world, DRAGON QUEST XI brings a massive, beautifully detailed world to life, with finely tuned turn-based combat and an immersive story that will appeal to fans and newcomers alike. 

Featuring tons of side-quests and mini-games that provide enough content to keep you playing for well over 100 hours, the Western release of DRAGON QUEST XI will also feature several upgrades and enhancements that were not in the Japanese version of the game, including:

• English Voiceover - to bring the charismatic cast of characters to life
• Draconian Quest - a hard mode that offers additional challenges for more experienced players
• Overhauled Menus & UI - with graphical enhancements and more intuitive navigation
• Camera Mode - allowing players to take in views of the beautiful landscape, character renders and ferocious monsters in detail
• A new dash function and many other system enhancements such as improved character and camera movement

Star Wars: The Last Jedi: Blu Ray Review

Star Wars: The Last Jedi: Blu Ray Review

Hope is a great deal of things to a great deal of people.

But in the Star Wars universe, it is more than just a tangible concept - it exists to rekindle nostalgia or to quash the sad memories of what has previously passed.

And so it is with Star Wars The Last Jedi that the hope rises again in Riam Johnson's thrilling and ostentatious entry into the space opera, now in its 40th year.

After the nostalgia bath of The Force Awakens, there was a lot of hope to deliver with The Last Jedi and it delivers on its promise.

With the First Order rising, the rebellion lies in tatters, forced on the run and bring pursued by Domnhall Gleeson's pale and obsequious General Hux.

With supreme leader Snoke determined to snuff any whiff of rebellion out, it's up to Rey to try and bring the last great Jedi Luke Skywalker back to the fight.

However Luke is determined to have no part in this, believing hope is dangerous and that the Jedi must burn and end.

However Oscar Isaac's rebellious Poe, complete with John Boyega's displaced Stormtrooper come up with a plan to save the fleet and give Rey the time she needs to re-recruit Luke back.

But a long time ago, in a galaxy far far away, hope is running out...

To say that Brick director Rian Johnson's Star Wars vision is audacious and as emotionally rich in parts as The Empire Strikes Back is no mean claim (even if the final third of the film feels forcefully tacked on).

By expanding out the universe and still concentrating on the main players, even when he's populating the film with a raft of races and new faces, there's still a focus on what matters.

But it's not all perfect in this overlong entrant into the franchise.

A reliance on humour at the start tonally upends what you'd expect from a film like this - and whilst it's initially welcome, there's a danger that the Guardians of the Galaxy and Thor: Ragnarok  humour is about to overwhelm in a film that does surprise in many ways.

Thankfully, the jokes are put on the back burner quite quickly before they grate, and the cuteness of the new arrivals Porgs is underplayed, confined to a Puss-in-Boots moment, and the film gets into what really matters.

Whereas The Force Awakens wallowed in nostalgia, and meta-nods to the originals, Rian Johnson's view of the universe takes elements of prior films and twists them into new iterations of his own.

There's an otherwordly casino, complete with a bastardised version of the infamous Cantina song; there are hints of Kylo Ren's journey taking elements of Darth Vader's arc, there's the infamous Hitler debate being given life, and most familiar of all, there's Rey being schooled in the ways of the Jedi by a reluctant Luke Skywalker.

It's an impressive world that's been created, even if there is a feeling sometimes that those within it don't exactly have enough to do.

Certainly the film's flabby B-plot suffers and there's a definitive nagging feeling that there's a mid-film slump in parts, but when it comes to spectacle, Johnson more than delivers and gives more for his newcomers to do than simply lip-service.

It still remains to be seen whether the likes of Rey, Poe and Finn will become as iconic as Luke, Leia, Han and Chewie - and the over-reliance on BB-8 as a deus ex machina is troubling, no matter how deliberately crowd-pleasing it is.

But there's much to adore in this Star Wars.

Principally, it comes down to the old school troupe - in Mark Hamill's wearied and burdened turn as Luke; his backstory reveal hints at how hope has gradually started to dwindle in one who was so optimistic and eager. The tragedy's apparent.

And none more so than with Carrie Fisher's final full film turn as General Leia Organa.

Saddled with the real life tragedy of her untimely passing, many of the fallen Princess' scenes feel loaded with more pathos than you'd expect - but there's one scene towards the end that will leave you close to experiencing your own Force choke, thanks to its exquisite beauty.

Credit must also go to Adam Driver this time too - his petulant Ren has a bit more depth in The Last Jedi, feeling less like a child on the verge of a tantrum, but a torn, deflated and defeated soul struggling to cling on to what's left of what makes him him.

Ridley's solid, but still Rey is given to exposition rather than naturally feeling her way along the narrative.

Ultimately, Star Wars: The Last Jedi is the film you're looking for.

An examination of the distractions of hate and rage, of bitterness and regret, of hope falling and rising, of the crushing feeling of both defeat and victory, of destiny and of small players making the big difference in the eternal fight - all reasons that the original saga was so loved.

It's infinitely better than its predecessor, and it sparkles with the Star Wars depth, magic and dust, despite some of its occasionally baffling flaws.