HITMAN™: Definitive Edition

HITMAN™: Definitive Edition

WARNER BROS. INTERACTIVE ENTERTAINMENT AND IO INTERACTIVE ENTER WORLDWIDE PUBLISHING AND DISTRIBUTION AGREEMENT FOR HITMAN™

HITMAN™: Definitive Edition Available in May 16

April 4, 2018 – Warner Bros. Interactive Entertainment and independent game developer, IO Interactive, today announced a worldwide publishing and distribution agreement for the acclaimed international video game, HITMAN™. As part of this agreement, Warner Bros. Interactive Entertainment will publish the HITMAN™: Definitive Edition, which will be available in retail stores for PlayStation®4 Pro computer entertainment system, PlayStation®4 computer entertainment system, Xbox One X and Xbox One beginning May 16, 2018.

The HITMAN: Definitive Edition will feature new in-game disguises for Agent 47 inspired by classic IO Interactive titles – Freedom Fighters, Kane & Lynch and Mini Ninjas – celebrating the Danish studio’s 20th anniversary, in addition to all previously released content* and game updates from the first season of HITMAN.

“We’re very excited to be working with IO Interactive, a talented studio with a long-standing legacy creating the iconic HITMAN games,” said David Haddad, President, Warner Bros. Interactive Entertainment. “The passionate, global HITMAN community has embraced the recent return of the series, and we’re thrilled to bring the HITMAN: Definitive Edition to fans and new players next month.”

“We’re super excited to be working with Warner Bros. Interactive Entertainment on HITMAN and together releasing the HITMAN: Definitive Edition to new players,” said Hakan Abrak, CEO IO Interactive. “Working with a partner like WBIE means that the team at IOI can stay focused on what we’re good at, making games.”

The HITMAN: Definitive Edition will include the following content:

·         IO Interactive’s 20^th Anniversary Outfit Bundle – Three new outfits inspired by Freedom Fighters, Kane & Lynch and Mini Ninjas

·         HITMAN Season One (Main Game) – Seven exotic locations from the first season, including Paris, Sapienza, Marrakesh, Bangkok, Colorado and Hokkaido, along with the ICA Facility

·         HITMAN Game of the Year Edition Content – Four missions from the Patient Zero Campaign, three themed Escalation Contracts that unlock three unique weapons, as well as the Clown Suit, Cowboy Suit and Raven Suit from the recent Game of the Year Edition digital release

·         HITMAN Summer Bonus Episode – Featuring ICA bonus missions in Sapienza and Marrakesh

·         HITMAN: Blood Money Requiem Pack – Including the Requiem Suit, Pale Duck Explosive and ICA Chrome Pistol

·         All featured Contracts, Escalation Contracts, Challenge Packs and game updates from HITMAN Season One and the HITMAN Game of the Year Edition

Please note that a portion of add-on content is not pre-loaded on the HITMAN: Definitive Edition disc and requires an internet connection. Additional content is approximately 12-24GB depending on platform.

*Elusive Targets that have already run and ended may not be available again as these are time limited events.

To learn more about the HITMAN: Definitive Edition, please visit www.hitman.com or join the HITMAN conversation on Twitter (@Hitman), Facebook (@Hitman.US), Instagram (@Hitman_Official), YouTube (Hitman) and Twitch (Hitman).

Ubisoft’s Far Cry 5 Breaks Franchise Sales Records

Ubisoft’s Far Cry 5 Breaks Franchise Sales Records

Ubisoft’s Far Cry 5 Breaks Franchise Sales Records

Millions of People Join the Resistance to Liberate Hope County, Montana 

                                                                      

Sydney, Australia – April 5, 2018 – Today, Ubisoft announced that Far Cry 5 more than doubled first week sell-through of Far Cry 4, making Far Cry 5 the fastest selling title in the franchise’s history. Digital distribution accounted for more than 50 percent of those sales. Far Cry 5 now represents the second biggest launch ever for an Ubisoft game, following only Tom Clancy’s The Division, with $310M USD in consumer spending through the first week.[1]

In addition to the strong first week of sales, record-breaking numbers of people are engaging with Far Cry 5 content. People streamed more than 55,000 hours of Far Cry 5 on Twitch and YouTubers’ videos earned more than 117 million views.[2] Both are records for an Ubisoft title in a week following launch, and evidence of the impact user generated content is having in convincing players to join the Far Cry community.

“Far Cry 5 is a vast and gorgeous playground filled with colorful stories for players to enjoy and share,” Alain Corre, EMEA Executive Director, Ubisoft. “We’re grateful to newcomers and fans of the series who have joined us in Hope County and have collectively grown our community.”

Set in America, a first for the franchise, Far Cry 5 offers players total freedom to navigate a serene-looking yet deeply twisted world as the new junior deputy of fictional Hope County, Montana. Players will find that their arrival accelerates a years-long silent coup by a fanatical doomsday cult, the Project at Eden's Gate, igniting a violent takeover of the county. Under siege and cut off from the rest of the world, players will join forces with residents of Hope County and form the Resistance.

“I’m proud that the culmination of years of passionate work from the team is paying off, and that Far Cry 5’s experience resonates with so many people,” said Dan Hay, Executive Producer on Far Cry. “We are humbled by players’ reception of Far Cry 5 and fired up to keep growing and supporting the Far Cry community in the months and years to come.”

Far Cry 5 is now available for Xbox One, PlayStation 4 and Windows PC. For more information on Far Cry 5, please visit farcry.com and follow us on Facebook at facebook.com/farcry.usa and on Twitter at twitter.com/farcrygame or hashtag #farcry5.

God's Own Country: DVD Review

God's Own Country: DVD Review

Director Francis Lee's intimate and engrossing God's Own Country may have moments of Brokeback Mountain to draw comparison to, but it's actually a great deal more emotional than that.

Set on a remote farm in the Yorkshire Dales, it's the tale of John (Josh O'Connor), a man who's angry at his lot in life, angry at his father (played with wonderful subtlety by a low key Ian Hart), angry at being stuck in a small village and angry that he can't be who he wants.

Out drunk every night, yet still having to come back to his chores on the farm, the self-destructive John is further enraged at the arrival of a farm-hand Gheorghe (Alec Secareanu), whose arrival is necessitated by the failing health of his father.

Forced onto the mountain to cope with lambing season, the antagonism grows until it boils over into something burgeoning...

Unlike the aforementioned Ang Lee film, God's Own Country is a sensitively-portrayed reward in patience, delivering a film that's rich in resonance and is a masterclass in subtlety.

From the stunning misty vistas to the genuinely oppressive feel of the farm and the veritable cold nipping at your bones from off the screen, Lee's languid camera and pacing brings to bear a story that's intensely moving and ultimately uplifting.

But that's not say the road to pastoral burgeoning romance is paved with gold.

And it's equally not to say that Lee takes an easy route to tell the tale, but he wisely chooses to avoid tension and cliche for drama's sake and . Using a precision of shots, and perhaps a sparsity of language, as well as not resorting to dramatic tropes greatly lifts God's Own Country into a film which aches as it unspools.

Both O'Connor and Secareanu bring great depth to the relationships, their own pasts and make the whole thing feel real. Equally, John's parents, played wonderfully by Hart and Gemma Jones shine with the less-is-more approach. Jones in particular has a wonderful moment involving tears and ironing that says more than any dialogue could; and for such a combatant relationship, Hart imbues the father with both a sense of family and responsibility that makes it hard to vilify any of his behaviour.

Bathed in bucolic frustrations, as well as acknowledgement of the hardship of farming and its mental toll, God's Own Country's tenderness and honesty is evident throughout.

From Lee's shots of the land and the verite of the harshness of rearing life in the country, to the dialogue that says so much with so little, this is a film of such innate emotional fragility and beauty that it will leave you aching and also alive from beginning to end. 

The Trip to Spain: Complete Series 3: DVD Review

The Trip to Spain: Complete Series 3: DVD Review

Returning for a third helping that's more Quixote than quixotic, The Trip To Spain just about manages to stay on the right side of not being irritating.

The Trip to Spain: Film Review  

Once again the six part TV UK series, which aired on satellite rather than free-to-air broadcasting, and spun off from the first Trip which aired in 2010,  follows an exaggerated version of Steve and Rob as they travel around Spain, taking in restaurants and trying to one-up each other along the way.

This time with Coogan hitting 50 and Brydon struggling with two young kids, there's very much a feeling of desperation in the air as the duo head round the sumptuously shot Spanish countryside. With Winterbottom's sweeping scenic vistas providing the eye-watering backdrop, it's down to the relationship between the two to provide the meat in this meal - and they certainly don't disappoint.

There's a definite feeling of ennui between the pair given their collective point in their lives.

Coogan is teetering on irrelevance in many ways, looking to still capitalise on the Oscar success of Philomena by injecting it into every conversation much to Brydon's annoyance; and Brydon's continual pushing of his impressions as every point borders on irritating in the extreme, a reminder that not all travelling partners are welcome.

With Don Quixote and Sancho Panza figuring into proceedings, there's a feeling that you're never quite sure why these two are friends anymore, and both play their roles well, with Coogan's irritability and frustrations being perhaps the saddest of the two. Struggling with past feelings, current career worries and future loneliness, Coogan's exasperation is palpable, and while there are moments that you feel he's being unnecessarily dismissive to Brydon, there's the fact this examination of a close friendship cuts to the quick where it needs to.

Granted, there's the obligatory Michael Caine moments, but it's the scenes where the duo are trying to out-impersonate Mick Jagger and the competitiveness between them over Roger Moore when they're joined by two women for a meal that speak the loudest to what Winterbottom's showcasing here. It may be a Tourettes of impressions at times but what it demonstrates is that niggling pushing and pulling between friends as well as showcasing of insecurities that come later in life to some. Less men behaving badly, more men behaving sadly, the midlife existential crisis has never been so scathing and fascinating to view.

Samsara: XBox One Review

Samsara: XBox One Review

Developer: Marker Limited
Platform: XBox One

The puzzler is perhaps the most addictive game around.

When made simple enough, it's frustrating, enjoyable and likely to while away your hours, eat into your mind and suck up all your energy.

Puzzlers on consoles tend to have a similar effect, and Auckland-based developer Marker Limited's foray into the world of the puzzle game is quite effective at doing what it needs to.

With a simple story of a boy named Zee, who finds himself trapped in a world he has to escape, Samsara has the elements for the players to engage.

It's a physics-based game, one which sees you dropping blocks into place to help Zee move from portal to portal and progressing through levels. The catch is the game screen is split into two levels, one a Stranger Things inspired Upside Down which requires a bit of thought over how to place the blocks and move Zee on.

The crux of Samsara is that its simplicity hides its devilish soul in plain sight.

There initially appears to be nothing simpler than moving and twisting blocks into place to help Zee move on, but the reality of it is that it can be incredibly frustrating if you can't seem to see past the mechanics and work them to your advantage.

Days were lost puzzling over one of the earlier levels, where blocks apparently didn't go together - but this is where Samsara excels. It grants you the Eureka moment you need to allow you to get through its some 77 levels across 6 worlds.

It looks gorgeous with the simple colours of blues, reds, purples all mixing together to produce a wonderfully clear and crisp engagement. The upside down world also is nicely echoed with a faded look that suits the aesthetics well.

Ultimately while Samsara's gameplay is perhaps more suited to a handheld device or a portable phone, its console rendition allows gamers to try and think laterally in bitesize pieces. IT's a welcome distraction that engages the grey matter rather than indulging it in splatter, though it has to be said its repetitive nature can grind you down a little.

All in all, Samsara is an indie that shows the sector is in rude health - it doesn't pander to the masses, but does show that small can be clever and indicates that Marker Limited could be destined for big things.

The Handmaid's Tale: Season 1: DVD Review

The Handmaid's Tale: Season 1: DVD Review

Released by Universal Home Entertainment

Never has a series ignited such a cultural touch paper in the way that The Handmaid's Tale: Season 1 did.

Taken from the Margaret Attwood book and set in a dystopian future where breeding is nigh on impossible and only a select few can manage it (The Handmaids of the title), Elisabeth Moss' rightly award winning story packs a punch that will resonate deeply with many and which will hit those who don't fully appreciate it where they should.

Forced into sexual servitude, and stripped of her original name, Moss' fertile Offred tries to escape what's thrust upon her, when women's rights are removed.

The struggle is real in The Handmaid's Tale: Season 1, and it's nonetheless compelling for it.

But it's also handled with extreme care, with there being a great deal of empathy and sympathy put upon the wife of the Commander (Joseph Fiennes), played by Yvonne Strahovski. The careful execution of many points of view and spiralling dread make it almost sickening to watch, even if parts of the narrative run out of steam toward the end.

Central to it all, is Moss' Offred, a downtrodden but never beaten heroine for our times (which is ironic, given how old Attwood's clearly prescient writing was) - she remains the beacon of light that shines the darker it gets.

Credit must also go to the horrific extremes inflicted on Alexis Bledel's character also.

The Handmaid's Tale: Season 1 is a rare TV vintage, that puts everyone through the necessary gamut of emotions.

A Quiet Place: Film Review

A Quiet Place: Film Review

Cast: John Krasinski, Emily Blunt, Noah Jupe, Millicent Simmonds, Cade Woodward
Director: John Krasinski

Channeling elements of It Comes At Night, Signs, 10 Cloverfield Lane, The Last Of Us and elements of Invaders From Mars to name but a few others, A Quiet Place's sensibilities lie within their intimacies.

Real life husband and wife Krasinski and Blunt play a married couple, living in a world blighted by an invasion, the details of which are scattered briefly like narrative breadcrumbs here and there.

Joining the film at Day 89 of this invasion, we're thrust into their world - a father and mother trying to protect their children from creatures which pick off their victims when they make sound.

Starting off in a deserted supermarket, with visual elements of The Last Of Us on display, this is a deserted world, one where insularity helps ensure safety.

However, after a shocking incident, the family finds it has to pull together in the wake of devastation and a seeming never end to what has been unleashed.

It's unfair to review A Quiet Place by spoiling it for others, depriving of the shocks and spills so rarely experienced at the movies these days.

Loosely speaking, the film works best in its own bubble of innocence; it's a story about family, about the sacrifices and lengths family have to go to protect each other. In a wider, broader sense, some could see it as an allegory into the world today, and politics in general.

But what's orchestrated by Krasinski throughout is, largely, terrifically taut, true to the genre and yet willing to shape it as its own.

A few quibbles of logic hit parts of the set pieces, yet above all, A Quiet Place manages to grip and terrify in the right measure.

It helps that a good starting portion of the film is silent, leading to sign language and subtitles becoming common place - something which Edgar Wright's Baby Driver managed to mainstream to great narrative effect.

However, what the subtitles do here convey an atmosphere of rebellion, of frustration and of familial love - in among the terror that any second something could strike.

Wisely, Krasinski and his writers decide early on to reveal the creatures terrorising the world, rather than play coy, abuse lighting and employ cheap cutaways to lessen the peril.

The result is that it's actually engaging and in parts unsettling.
More compellingly, it feels fresh throughout - even though some of the logical leaps and lapses stand out a little more because of this.

Certainly, a sequence involving a bathtub, Blunt, a creature and an impending baby leads to some real edge of the seat stuff that is amongst some of the best orchestrated of the year so far.

Long sweeping shots within frames, an at-times heart-thumping soundtrack and a desire to keep things on a smaller more personal scale make A Quiet Place such a rollercoaster ride of thrills.

Terrifically entertaining, suspenseful, and above all fresh, A Quiet Place rallies a cry for intimate originality in film which has long been muted by bloated blockbusters and tiresome, unfulfilling sequels.