The Stolen: DVD Review

The Stolen: DVD Review

The NZ set Western has had middling success so far.

From the enigmatic Slow West to the downright average Good For Nothing, it's a genre that clearly has some legs in.

Hoping to cash in on that, are Niall Johnson and writer Emily Corcoran, who've used the Canterbury coasts as their backdrop to the story of Alice Eve's Charlotte Lockton at the end of the 19th Century.
Relocating out to New Zealand with her husband and being trained to use weapons to survive in the wilds, Charlotte gets a rude awakening when they're robbed at midnight, her husband killed and her 3-month-old son kidnapped.

Receiving a ransom note 3 months later with a picture of her son, Charlotte sets out on a dangerous mission to rescue him.

Less Unforgiven, more unforgiveable, The Stolen's problems come from a patchy script, some wooden dialogue and some truly underwritten characters.

While the countryside looks great and Johnson makes great fist of the juxtaposition of both the rugged terrain and the contrast of Eve's porcelain English rose look.
But it's not enough to make parts of the film feel like a slog - even for a relatively short 90 minute run-time.

The tarts-with-hearts that Charlotte journeys across town with are given the most broad-brush cursory backstories with which to work and consequently, there's little to engage with when the inevitable peril sets in.

Chiefly Stan Walker feels majorly under-utilised and predominantly bookends the film with a character that suggests there could have been much more.

Richard O'Brien's Irish barkeep is another oddity in a film which mixes so many different accents in, you can be forgiven for thinking it's not set in New Zealand.

Complete with overbearing OST that blasts out any moment and drowns its emotional edges, The Stolen feels like it's punching above its weight.

Ultimately, with an improbable twist set down in the final furlong, The Stolen's whole feeling is one of something that's betrayed the promise of its mightily impressive premise.

It's disappointing as the setting and the story idea, which could have been better propelled along by revenge and a smash-the-streotype-female lead feels more like it's been squandered.

Super Lucky's Tale: Gilly's Island: DLC: XBox One Review

Super Lucky's Tale: Gilly's Island: DLC: XBox One Review

Platform: XBox One

Super Lucky's Tale: Gilly's Island is a reminder of why some loved the main game.

And also why some found the main game a little too simple.

The expansion covers three levels and a new boss, but is based very much on the mechanics of the main game. Pulled back into the world via the Book of Ages, Lucky finds himself in  the tropical paradise of Gilly's Island.

But singer Lady Meowmalade has other plans for the paradise, and it's up to Lucky to put a kaibosh on the proposals and ensure the paradise doesn't suffer any interruptions.

Super Lucky's Tale: Gilly's Island: DLC is a fairly simple, colourful blast of entertainment that will engage younger platformers rather than hit a wider more universal audience.

Its platform mechanics are simple, and there are the usual jumping frustrations which were found in the first game also, but it's not too challenging if you're willing to sink the time into it.

It also doesn't help that the camera issues which irritated the hell of players in the first game continue in here, proving that developers maybe need to keep an eye on what their users tell them - before releasing more similarly buggy content.

All in all, Super Lucky's Tale: Gilly's Island: DLC doesn't do much to trouble the gaming world, but in terms of short playable cartoony fun that's in line with the main game, it certainly falls in line.

Sweet Country: Film Review

Sweet Country: Film Review

Cast: Sam Neill, Bryan Brown, Ewen Leslie, Hamilton Morris
Director: Warwick Thornton

Aussie director Warwick Thornton's Samson and Delilah was a searing commentary on the treatment (or lack thereof) of contemporary indigenous races in Australia.

Blessed with raw visceral power, that tale set the bar very high for the director - and also lit a fuse under Australian film.

So, it's a slight disappointment to report that Sweet Country doesn't quite measure up to that stunning debut, preferring to instil an at-heart Western with a large degree of unsubtlety throughout.

Set in the 1929 Northern Territories, it's the story of Sam (Hamilton Morris), an Aborigine caught up in the politics and the horrendous racism of the time.

Sent by preacher Fred Smith (a stoic, underplayed and heartfelt Sam Neill) to help a bitter, traumatised war veteran (played with seething bile by Leslie)on his cattle farm, Sam finds himself in the centre of an insufferable situation.

When conflict forces Sam's hand, he ends up on the run with his wife - and a manhunt led by Bryan Brown's Sergeant Fletcher begins.

Thornton uses time and confusion well in Sweet Country, with images from the start, middle and future of the film intersecting with current events throughout. It's a disorienting, smart move that keeps some of the ambulatory pace at bay.

Make no mistake this is a film that takes its sweet time getting to its (entirely predictable and tragic) conclusion. There's nothing wrong with that and Thornton fills the screen with great vistas and full-screen landscape shots that capture the outback at its most confrontational and testing.

Occasionally though, the lack of time and apparent time jumps prove to be a step too far, pushing the narrative where it needs to go at a pace that seems interminable to engage with.

It seethes too, with an undercurrent of hatred, of theft from countries and of darkness that men do.

"I wanted the other one, but you'll do" is one line that lingers deep afterwards, delivered with contempt and malice ahead of a venomous act the consequences of which linger long on.

But despite great controlled performances from the likes of Neill as a preacher and of Morris, a man whose face is etched with the pains and injustices of the past, Sweet Country lacks a path to conclusion that feels anything other than pre-laid out.

There's no way this can't end in tragedy, and perhaps that's Thornton's aim - to showcase the ugly brutality of life and the repugnant nature of those who've fought in wars, and the arrogance of the white man.

It's an ugly film in some ways, with racism, violence and language giving this Western a brutal truth which is hard to stomach occasionally.

Ultimately, despite Thornton's intentions to rise above its grubby gritty nature, the final feeling of Sweet Country underwhelms. Some leaps in logic and some strange time jumps rob the film of the authenticity which has gone before it.

It's to be commended for being a Western that has a different way of doing things despite a very familiar premise (manhunt, people wronged, good and evil), but Sweet Country, complete with its hammering home of politics - one character's final comments are "What is this country coming to?" isn't quite as powerful as it could - and should - be.

Its lack of subtlety robs of it the power it needs, and while the pace makes the journey's destination unfortunately not quite worth it - Samson and Delilah, with its more laid back approach to situation, conflict and resolution, packed more of the resolute punch that Thornton's follow up delivers.

FINAL FANTASY XIV PATCH 4.3 BRINGS IVALICE’S RIDORANA LIGHTHOUSE TO EORZEA

FINAL FANTASY XIV PATCH 4.3 BRINGS IVALICE’S RIDORANA LIGHTHOUSE TO EORZEA

FINAL FANTASY XIV PATCH 4.3 BRINGS IVALICE’S RIDORANA LIGHTHOUSE TO EORZEA

New Companion App Unveiled for the First Time

Sydney, Australia - 15th April, 2018 – The eagerly awaited next chapter of the Ivalice alliance raid series is set to arrive in FINAL FANTASY® XIV Online in late May, when Patch 4.3 goes live. Titled “Under the Moonlight”, Patch 4.3 brings a wealth of new content to the critically acclaimed MMO and continues the thrilling story of the Stormblood™ expansion.

Adventurers will also be able to explore a new Dungeon, take on new Trials, and can level up their crafting and gathering skills by accepting the new Namazu Beast Tribe Quests. Details on the main contents of the patch are revealed below:

• New Main Scenario Quests – The story of Stormblood continues.
• New Alliance Raid – The Ridorana Lighthouse.
• New Trial – It’s a secret!
• New Dungeon – The Swallow’s Compass.
• New Beast Tribe Quests - The Namazu.
• New Sidequests – The Four Lords, Doman Reconstruction and Further Hildibrand Adventures.
• New Deep Dungeon – 100-Floor Heaven-on-High.
• The Forbidden Land, Eureka Expansion – Pagos Expedition.
• New Ultimate Difficulty Raid – Ultima Weapon.
• Updates to jobs, PvP, Glamour System, Housing, Performance Actions, new more powerful gear and more.

Additionally, alongside the contents of Patch 4.3, get a first look at the outline of the FINAL FANTASY XIV Online Companion App currently in development. All players that download the app will be able to enjoy benefits such as the following:

• Chat with friends and Free Company members
• Organise events with the Scheduler
• Organise inventory and Armoury chest
• Peruse the Market Board
• Put items up for sale/purchase items
• Register an additional favoured destination Aetheryte

An optional, Premium Plan is also available, which unlocks the following features for a monthly fee:

• Organise Saddlebags and Retainer Inventories
• Saddlebag capacity is doubled
• One additional Retainer can be employed

Details of the app release date will be shared as they are confirmed.

The FINAL FANTASY XIV Online Free Trial allows new players to easily join the millions of adventurers in the realm of Eorzea™. The free trial allows anyone to access all available content up to level 35 (including the new Rival Wings PvP), create up to eight playable characters, and experience the different playable races, classes, and jobs with no restrictions on playtime. New players who wish to experience the free trial may register here: http://freetrial.finalfantasyxiv.com/. All editions of FINAL FANTASY XIV Online, including the FINAL FANTASY XIV: Stormblood™ expansion, may be purchased through the Square Enix® Online Store here: http://sqex.to/FFXIVStore

Related Links

Official Stormblood Site: http://eu.finalfantasyxiv.com/stormblood/

Free Trial Site: http://freetrial.finalfantasyxiv.com/

The Lodestone®: http://eu.finalfantasyxiv.com/

Official Facebook: https://www.facebook.com/FinalFantasyXIV/

Official Twitter: @FF_XIV_EN

Official Instagram: @ffxiv

Westworld: Complete Series 1: Blu Ray Review

Westworld: Complete Series 1: Blu Ray Review

Released by Roadshow Home Entertainment
Rating: M

To say there's a sense of anticipation behind Westworld the TV series is somewhat of an understatement.

The 10 part show which debuted on HBO and which pulled from the original 1973 Yul Brynner film about robots and humans living a life together in a theme park certainly has its powerful moments.

Slickly put together and excessively polished with a cast of some truly big names, the TV series is a knotty intellectual piece that goes for the big philosophical issues in between the sex and the violence.

Visually, the show soars with technology blending in brilliantly into the sci-fi dystopian world that's been created for the small screen.

Occasionally, the twists and turns can be seen from a mile off, but the sense of story-telling propels Westworld along and ensures that moments of tedium (inevitable in an intellectual 10-parter like this) are kept to a minimum.

It's a shame the series isn't a self-contained piece, but its push into a second series may well be deserved given the calibre of actors like Sir Anthony Hopkins, Ed Harris, Rachel Evan Wood bring to it.

While not entirely gripping, and edging ever so close to outstaying its 10 episode run, Westworld really does raise the bar for sci-fi small screen fare - and while it's not to everyone's tastes, it's certainly worth a punt.

Moss: PSVR Review

Moss: PSVR Review

Platform: PSVR
Released by Sony

There is something adorable about Moss.

Whether it's the fact it's 3D platforming brought to life via the PS VR headset or the fact that it shows PSVR isn't just limited to experiences, Moss offers hope for VR in 2018.

Set in a fairy book world, Moss sets you in the position of Quill and puts you to task roaming through a growing number of puzzles and on a quest to save her kingdom from trouble.

Quill can attack with a sword, jump around and generally scurry like the best of mice, ensuring that the platforming feels like something anyone can achieve.

That's the thing with Moss, its simplicity makes it so evidently appealing to all those around. Plus the fact you are part of a team with Quill makes the game so much more immersive than would initially appear.

As the reader, you get to manipulate objects in the Moss World to ensure that Quill's never-ending journey is as easy as is possible.Puzzles are never fully taxing and Moss's approachability means it's an all ages kind of affair which really does make it a step up for the VR world.

With gorgeous landscapes within the world to behold, and an engaging feel to keep all ages interested, Moss makes a case for what VR can do. Effortlessly merging the best of both worlds, without ever really being showy, it does make you believe that this is what VR should be - simple, entertaining and mighty mouse levels of fun.

The Disaster Artist: DVD Review

The Disaster Artist: DVD Review

There will be a large portion of the audience who've never heard of Tommy Wiseau or his film The Room.

Released in 2003 to riotously bad reviews, and dubbed the Citizen Kane of Bad movies, The Room has since gone on to be a money-making affair that revels in its awfulness, terrible writing and appalling acting.

With an opening sequence that gives some A-list Hollywood names and talking heads the chance to voice their appreciation for the film, James Franco's film delves deeply into a bromance and a Carpe Diem attitude that evolved from Wiseau's friendship with collaborator Greg Sestero (Dave Franco).

Based on Sestero's 2013 book 'The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made', James Franco's affectionate re-telling of how it all came to pass is nothing short of affectionate and life-affirming.

Charting the friendship that grew from Wiseau and Sestero's initial meeting at an acting class in San Francisco in the late 90s, it's the classic tale of jealousy and success in the Hollywood realm.

When Sestero (Dave Franco, genuine, bubbly and full of hope) begins to get a degree of success and a girlfriend (Alison Brie, underused), Wiseau's fragile insecurities begin to bubble up and threatens to derail the duo.

But deciding to channel it into writing his own film, after a casting agent says he'll never be more than a villain, Wiseau was galvanised to self-fund, write and direct The Room.

The thing that works about The Disaster Artist, is quite simply, the reverence that it holds for its subject and its central protagonist.

James Franco is utterly mesmerising as Tommy Wiseau, disappearing completely into the role and channeling both Wiseau's idiosyncracies and quirks. But no character piece, what Franco does is make his Wiseau both human and fallible, never leading him to being an object of mockery (which could so easily have been done).

An intrinsic knowledge of The Room's sheer awfulness isn't necessary, as the infectious film-making on the display and peek inside the Hollywood machine is nothing short of contagious.

Complete with late 90s/ early 2000 period details, and a taut eye for the central duo of Sestero and Wiseau (others outside the orbit tend to get a little short shrift unfortunately), The Disaster Artist is nothing more than a chasing your dreams tale.

But under Franco's watch, and by refusing to exploit either the story or its general eccentricities weirdness, it becomes a film that shows why the power of Hollywood continues to live and why those who step outside the norm continue to thrive in its wake.