Destiny 2 Warmind Reveal

Destiny 2 Warmind Reveal

Launching on May 8, Destiny 2 Expansion II: Warmind continues your Guardian’s journey with new activities, new weapons and gear, more endgame content, and an all-new story.

Warmind features an all new Raid lair offering players great rewards, a new Hive faction and brand-new endgame ritual, Escalation Protocol where players will fight escalating waves of enemies and slay challenging bosses right alongside their friends. There will also be new weapons, armour and gear to earn.  

If you missed Bungie’s Warmind Twitch Reveal Stream, you can watch it here and read the recap below.

Warmind- Reveal Stream Recap

Summary: Players learn about Destiny 2’s Warmind expansion, including new activities, a new campaign, and a new story to tell

Cast:

• Deej

·         Brent Gibson, Game Director, Vicarious Visions

·         Evan Nikolich, Partner Design Lead, Bungie

·         Ben Wommack, Design Lead

·         Jacob Benton, Design Lead

·         Cozmo, Community

·         Kevin Yanes, Designer

·         Josh Hamrick, Sandbox Design Lead

·         Jon Weisnewski, Senior Sandbox Designer

Content:

• Destination: In Warmind, players will journey to Mars, where Rasputin has awoken, setting off a system-wide chain of events. The polar ice caps are melting, uncovering a time capsule in Rasputin’s birthplace. Warmind will introduce Ana Bray, a new hero that players will encounter. She will serve as the vendor and will allow players to learn more about Clovis Bray

• Escalation Protocol: Warmind introduces a new endgame activity that players will want to return to again and again. Escalation Protocol features many characteristics of traditional public events, however it can be started at any time rather than running to a schedule and anyone can join.
  • The event starts by activating a pillar that rises up out of the ground which draws the Hive in
  • The event plays out in seven waves, each with a boss fight, culminating in one final unique boss fight
  • There are five unique final bosses that will rotate each week in five-week rotations
  • New items/tokens will be available which can be spun to get special weapons. These will be needed to complete the activity
  • One notable new item is the Valkyrie, a magical rocket launcher that destroys all. It is both a melee and a ranged weapon
  • Players can earn rewards that are specific to this activity
  • Escalation Protocol is very challenging, so be prepared to be put to the test!
  • Players must complete Warmind’s campaign before they can activate Escalation Protocol

• Crucible: Two important features are coming to Destiny 2 in Season 3; Crucible ranks and Private Matches
  • Crucible ranks will provide a choice of two ranks which will dictate how you play:
  • Valor rank involves progression over time with no penalty for dropout
  • Glory rank is much more difficult and is attached only to competitive playlists. Progression is tied to results, so it improves if you win and decreases if you lose.
  • Each rank includes streak bonuses
  • Crucible rewards change in Season 3, with two amazing new emblems and an entire slew of new rewards
  • There will be one specific weapon to chase each season
  • Season 3’s notable weapon will be Redrix’s Claymore, which includes the new Desperado perk. This increases the rate of fire without lowering impact
  • Private Matches are back! They are similar to those players will remember from Destiny 1 but with some awesome improvements

o    There are two new maps – Solitude and Survival- which require Warmind ownership in order to use in private matches

• Sandbox: Exotic weapons are being tweaked to improve the experience with each weapon – everything will be stronger, faster, and better!
  • Most exotics have been levelled-up in areas such as damage, time-to-kill and rate of fire

The Shape of Water: Blu Ray Review

The Shape of Water: Blu Ray Review

How you feel about whimsy will largely dictate your feelings on the beautifully sumptuous but occasionally wanting Golden Globe nominated The Shape of Water.

In Guillermo del Toro's Cold War fairytale, Hawkins plays mute janitor Elisa, who lives with a struggling artist (Jenkin, in a warm and empathetic performance) above a cinema.

One day at work, Elisa encounters a strange event, when an apparent iron lung is shifted into the research facility where she works, complete with mysterious G-man (played with vitriol by Michael Shannon).

Despite being ordered not to do so, Elisa discovers a common bond with the Merman type creature in the tank (played by creature wizard Doug Jones). However, with the Russians trying to get their hands on it, and the Americans threatening to vivisect, Elisa decides to take matters into her own hands.

The Shape Of Water has some truly astounding visuals and is awash in a Jeunet-esque green glow that bathes everything in marine. Many sly references are made to green being the colour of the future, and the opening sequence, with its startling aqua-world is covered in green, and reflective of both the film's mystery and its 30s monster movie machinations.

Yet, even for a fantasy, there are moments in the Cold War showdown that don't hold together - lapses of logic and behaviour mar parts of the film and slightly take you out from the fantasy within.

Thankfully, even though the film's drowning in fantasy, it's grounded by some very human presences.

Jenkins is the everyman with heart, whose desire to fit in and return is rendered all the more tragic because of societal attitudes to his open lifestyle; Jones is as impressive as ever as a creature, with plenty of years in Hellboy to know that the simplest move of his Creature from the Black Lagoon can mean so much and Shannon's driven Government agent is as necessary a villain as you'd need in a film like this.

But it's Hawkins whose mute turn speaks the loudest in del Toro's movie about the love of movies. Her empathetic Elisa gives the fantasy its heart, and in her silent turn, Hawkins pays tribute to Del Toro's aim to salute the golden era of Hollywood's finest. But there's depth to Hawkins, even if the connection initially with the creature feels a little forced; this is a film that follows the conventions of Hollywood's monster movie era where a kindred is born.

Ultimately, The Shape of Water may go on a little too long, but if you're content to rest in its fantasy world and revel in Del Toro's unique vision, it's the perfect luxuriating piece of cinema. 

I, Tonya: DVD Review

I, Tonya: DVD Review

It's hard to know where the truth lies in the cinematic and literal punchbag and punchline that is director Craig Gillespie and actor Margot Robbie's I, Tonya.

A non-conventional biopic that mingles fourth-wall breaking, Fargo-esque shenanigans, Goodfellas-style extreme domestic violence, comedy and unreliable narrators, the truth is as difficult to trace as the film is keen to promote Margot Robbie's Tonya Harding as a victim, not a villain.

As Verbal in The Usual Suspects intoned at the end, "The greatest trick the Devil ever pulled was convincing the world he didn’t exist", much of a similar ethos has been thrown at I, Tonya and you're likely to emerge still not quite believing who is right, what the truth of the incident that hobbled Harding's contender Nancy Kerrigan in January 1994 actually is and assured that Alison Janney deserves all the plaudits she's being showered in for the role of Tonya's harridan mother.

Beginning with a relatively quiet start and a series of others piece-to-cameras explaining their role in the Tonya tale, Gillespie sets about building an image of Tonya before Robbie's presence is fully revealed.

Sitting in her kitchen, looking non-descript and complete with lank hair and limp bangs, Robbie portrays Harding as the victim in all of this, who never wanted anything more than to skate.

Taking in her childhood in 1970, where her mother LaVona (a nothing short of sinister and compelling turn from Janney under a pudding bowl cut and pair of unflattering glasses) daily verbally and physically abuses Harding, the film follows Tonya's rise to adulthood, her abusive relationship with Jeff Gillooly and her desire to simply skate and do nothing else.

Robbie's impressive as Harding for the most part - even if the back third of the film feels directionless and sprawling as it takes in a crime ripped straight from the annals of the Fargo anthology series in its ineptness and woeful stupidity.

But Robbie's game is seriously raised - and the film is indeed never better than when Janney is on screen and we dwell in their interactions. Simmering with an horrific tension and redolent of systemic abuse, these scenes are frank in their approach and as eye-opening an insight into character as could be expected.

However, Gillespie's desire to make the audience complicit (and Harding's on-screen end insistence that the audience is to blame for what happened to her) makes the film particularly conflicting viewing at times.

Punctuating moments of strong violence from Gillooly with Robbie's fourth-wall breaking leaves an occasionally uncertain taste in the mouth as the film goes on. Granted the material is pulled from a He Said, She Said style narrative, but the oddly jokey tone sits uncomfortably throughout.

That said, there are moments of directorial bravura in I, Tonya.

Gillespie's eye for dazzling sweeping shots of skating on the ice give the film a sequinned thrill and Tonya's tale an arc of tragedy, where the beauty she displayed in the rink is so fused with the ugliness of what lies off it in her domestic hillbilly life. (Though occasionally, it feels like some of the CGI fails its subject.)

Ultimately, and unfortunately, I, Tonya makes a literal punchline of its subject, and leaves you none the wiser to the reliability and relatability of what transpires on screen.

It does feel overlong hitting nearly 2 hours, and the farcical elements sit with unease next to the violence, but perhaps, in some ways, this is the point of I, Tonya.

Harding has always been a conflicting and divisive figure.

It certainly feels in its denouement as she protests her innocence that she believes she's misunderstood (and the film allows this agenda throughout).

Even with Janney's superlative turn and Robbie's occasional shining strength and resolute performance, I, Tonya spins a polarising story, a bastardisation of the American dream that's hard to get to the core of - and definitely one whose black humour and approach will leave you feeling deeply conflicted afterwards.

Win a copy of The Greatest Showman

Win a copy of The Greatest Showman

To celebrate the release of The Greatest Showman you can win a copy, thanks to the great people at Universal Home Entertainment.

About The Greatest Showman

Experience the award-winning music!

Hugh Jackman leads an all-star cast in this bold and original musical filled with infectious show stopping performances that will
bring you to your feet time and time again.

Inspired by the story of P.T. Barnum (Jackman) and celebrating the birth of show business, the film follows the visionary who rose from nothing to create a mesmerizing spectacle.

To win a copy, all you have to do is email  your details to this address: darrensworldofentertainment@gmail.com or CLICK HERE NOW!

Please label your entry BARNUM

Competition closes May 18th

Win a copy of Phantom Thread

Win a copy of Phantom Thread

To celebrate the release of the Oscar-nominated Phantom Thread, you could win a copy thanks to our friends at Universal Home Entertainment.

About Phantom Thread

Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the centre of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock.

Women come and go through Woodcock’s life until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover.

Once controlled and planned, he finds his carefully tailored life disrupted by the scariest curse of all...love.

And so begins a Gothic Romance of twists, turns and power struggles.

  To win a copy, all you have to do is email  your details to this address: darrensworldofentertainment@gmail.com or CLICK HERE NOW!

Please label your entry PHANTOM

Competition closes May 18th

Win a copy of The Florida Project

Win a copy of The Florida Project

To celebrate the release of Sean Baker's The Florida Project on DVD and Blu-Ray, you could win 1 of 3 copies, thanks to Universal Home Entertainment.

About The Florida Project

Directed and co-written by Sean Baker (Tangerine) The Florida Project is the story of precocious six-year-old Moonee (Brooklynn Prince) and her ragtag group of
friends whose summer break is filled with childhood wonder, possibility and a sense of adventure.

Living at a motel in the shadow of Disney World, Moonee is seemingly oblivious to the struggles of adults around her, including mother Halley (Bria
Vinaite), and motel manager/father-figure Bobby (Willem Dafoe).

A vibrant yet heart-breaking portrait of life on the fringe.

  To win a copy, all you have to do is email  your details to this address: darrensworldofentertainment@gmail.com or CLICK HERE NOW!

Please label your entry FLORIDA

Competition closes May 18th

Win a copy of The Shape Of Water

Win a copy of The Shape Of Water

To celebrate the release of the Oscar-winning The Shape Of Water, you can win a copy thanks to Universal Home Entertainment.

About The Shape of Water

From master storyteller, Guillermo del Toro, comes The Shape Of Water, an otherworldly fairy tale set against the backdrop of Cold War-era America circa
1962.

In the hidden, high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of isolation. Elisa’s life is changed forever
when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment.

To win a copy, all you have to do is email  your details to this address: darrensworldofentertainment@gmail.com or CLICK HERE NOW!

Please label your entry SHAPE

Competition closes May 18th

Isle of Dogs: Film Review

Isle of Dogs: Film Review

Cast: Bryan Cranston, Edward Norton, Koyu Rankin, Greta Gerwig, Bill Murray, Jeff Goldblum, Kunichi Nomura
Director: Wes Anderson

Propaganda, genocide, Japanese homage, accusations levelled of cultural appropriation and a white saviour - Wes Anderson's latest quirk fest, the stop animation Isle of Dogs, certainly has it all.

Set on Trash Island off the coast of Japan, it centres on a colony of canines, cut from their owner's lives at the behest of Prime Minister Kobayashi (Nomura) after an outbreak of dog flu and snout fever. Ripped from civilisation and living a little like Lord of The Flies with pockets of rabid ruffians looking for food, a group of four dogs one day see a visitor come to the island.

This is the little pilot, a boy looking simply for his lost pooch.

Taking the boy under their collective wings, the dogs, along with stray interloper Chief (Cranston, rich and gravelly), set out to find the Little Pilot's long lost pal - as a conspiracy on the mainland develops under Kobayashi's watch.

As stop animation and as a follow up to the stirling work done in Fantastic Mr Fox, West Anderson's latest is really second to none in the animation stakes, with everything painted through with the typical Anderson whimsy and quirk.

It's also second to none in the hipster quirk stakes as well - and towards the end, the light  fancy edges threaten to cloy and choke rather than assume the desired effect. Plus, there's a very sudden about face for one of the main characters which comes from nowhere and tonally jars.

But in terms of engaging a quest and Samurai element to the proceedings, the group's search certainly feels formed and is intriguing enough - even if it feels like little happens and they simply trudge from one element to the next, leading to a meandering feeling.

That's perhaps the joy of what Anderson's committed to the screen here - it feels slight, and light, with rafts of once over lightly, rather than big emotional heft - which may rankle some viewers.

However, with Chief's back story and the homage to Japan and its culture, Isle of Dogs is as traditional a animal adventure as anything Disney has put out - even if there are a few darker elements.

The one majorly troubling part of the story is the way that Little Pilot gets sidelined later on in favour of Greta Gerwig's white saviour Tracey who breaks open the conspiracy. It's hard to justify this, or whether it's a sly subversion of the dumb American cracking open the whole plot that's within (this may be granting Anderson a little too much space).

It feels like a misfire in a film that works to incorporate its cultural elements into the symmetry and tapestry of its film (although this has seen the film have criticisms levelled at it) and really does stick out like a sore thumb.

Ultimately though, Isle of Dogs, while it threatens to collapse under the weight of the quirk and times of occasional tedium it's created, is a film that nearly hits some of Fantastic Mr Fox's animated, but not heart, highs. It may lack the spontaneity and chaos of the previous entry, and some of the lighter touches (certainly, when it does cut loose it's a lot more fun and engaging), but it's definitely proof that stop-animation isn't a dying art form - and one that deserves to be seen on the big screen.

The Breaker Upperers: Film Review

The Breaker Upperers: Film Review

Cast: Madeleine Sami, Jackie van Beek, James Rolleston, Rima Te Wiata
Directors: Madeleine Sami, Jackie van Beek

There's no disputing the necessity and timeliness of The Breaker Upperers, a female written, directed and led comedy, aimed squarely at getting groups of women together and out into the cinema.

Fresh from success on the international circuit and at SXSW, van Beek and Sami play Jen and Mel, a couple of long-term mates who have an agency that essentially breaks couples up, because those involved are too scared to do it themselves.

Business is good, and Jen's approach is to never let it get personal.

However, when Mel gets the guilts for claiming to Annie one of those dumped that her other half went AWOL, things start to rupture between the two of them. It's further exacerbated when Mel starts dating Rolleston's lacking-in-smarts Jordan - it looks very much like the next couple heading for splitsville is Mel and Jen...

The Breaker Upperer's short run time helps, because, in parts, areas of this film feel like an extended sketch show thrown together with the flimsiest of threads and the best of intentions.

It's not to belittle any of those involved nor their intentions, but the general malaise which settles in to The Breaker Upperers is more prevalent when scenes don't centre on Madeleine Sami and Jackie van Beek's characters.

In between the hitherto-rarely seen on the big screen take on female friendship delivered by The Breaker Upperers, there are some high points. Sami, in particular, delivers a gutsy performance that drops the laughs with ease; van Beek's more of a straight man act to this, but it's herein the problem with The Breaker Upperers lies.

The simple cold hard fact of the matter is that everyone within is a character to varying degrees.

It means that when the emotional pull is supposed to come, it doesn't resonate as strongly as it should, largely in part to the feeling that swathes of this feel underwritten and ever-so slightly undercooked.

It's not majorly disparaging, just disappointing that there's potential here that feels lost in translation - and cameos from the likes of te Wiata as Jen's sex-obsessed hoitytoity mother and a sequence involving a 90s Celine Dion karaoke ballad means there are some genuine laugh-out-loud moments to be had.

Rolleston tries to play fast and dumb with Jordan, and a comment midway through the film as he gets a lift back home with his mum and beau in tow is genuinely one of the most scabrous and hilarious sentences uttered in the history of New Zealand cinema.

But that's the issue here - the humour is too few and far in between.

At its heart, The Breaker Upperers simply wants to be loved.

It doesn't want to be rejected like its suitors and yet it never quite offers a compelling enough reason to try and make it through the rocky periods and past the initial honeymoon period.

NZIFF: Our First Film Announcements for 2018

NZIFF: Our First Film Announcements for 2018

First Announcements for a 50th Year We are back in your inbox – and preparing to party. NZIFF hits a milestone in Auckland this year: we turn 50!  How better to herald the event than with our first programming announcements for the year? The first four celebrate Kiwi brilliance behind the camera and in front of it – along with a pair of documentary portraits that, seen together, might provoke comparisons between the appetite for brainy women in popular entertainment then and now: in the Hollywood studio era vs. the presumably more enlightened 21st century. Our online celebration gets underway today with a new section on the websitefor the recollections of past highlights (and a few low points) we have solicited from NZIFF participants. And as always, thanks to our friends in high places, we have a great array of ticket offers and giveaways to keep you entertained while you wait for NZIFF to hit town this 19 July. Programme announcements will continue from now until the full revelation on the evening of 25 June. Stay tuned. We’re definitely working on it! Bill Gosden and the NZIFF crew

Kiwis shine at Sundance, Tribeca and NZIFF 2018. From the opulent world of China’s big spenders to the wilderness of Oregon's forests, from the heyday of Hollywood to the world of Brit rapper, singer-songwriter, record producer, and activist M.I.A, NZIFF stays true to its mission of covering the world.

NZ Premiere: Yellow is Forbidden Kiwi director Pietra Brettkelly takes us into the opulent world of show-stopping Chinese designer Guo Pei as she prepares to make her Paris debut and seeks admission into the exclusive club of haute couture. “Compelling and stimulating… an intimate, involving portrait of Chinese fashion designer Guo Pei.”  — Keith Uhlich, Hollywood Reporter Read more about Yellow is Forbidden and watch the trailer on our website.

NZ Premiere: Leave No Trace New Zealand actress Thomasin Harcourt McKenzie is mesmerising as 13-year-old Tom living off the grid with her war vet father (Ben Foster) in this haunting new film from the director of Winter’s Bone. “Something deeply compassionate, a story of a father and daughter that speaks truths about some large things.” — Richard Lawson, Vanity Fair Read more about Leave No Trace on our website.

NZ Premiere: Matangi / Maya / M.I.A. From refugee daughter of a Tamil revolutionary and aspiring filmmaker to pop stardom and controversy magnet: this stimulating documentary about Sri Lankan musician M.I.A. dances to its own idiosyncratic beat. “A hypnotic portrait of a restless and inconvenient artist who understood the power of her voice, and felt compelled to use it for a greater cause.” — Leonardo Goi, The Film Stage Read more about Matangi/Maya/M.I.A. on our website.

NZ Premiere: Bombshell: Heddy Lamarr Alexandra Dean’s debut documentary is a revelatory and entertaining portrait of an adventurous woman and talented inventor better known to the world as the embodiment of Hollywood sex and glamour. “Any girl can look glamorous, all she has to do is stand still and look stupid.” — Hedy Lamarr Read more about Bombshell: Heddy Lamarr and watch the trailer on our website

The Way We Were "A motion picture no one will ever forget”, promised the adline in the Auckland Star for our first ever Opening Night film on Sunday September 14, 1969. (The motion picture was Hunger, directed by Henning Carlsen, based on a novel by Knut Hamsun, and winner of a Cannes accolade in 1966 for actor Per Oscarsson.) Maintaining the spirit of no one ever forgetting, we’ve invited numerous participants to share memories and anecdotes of festivals past. We are posting them here from now until July. You’re invited too. If you have a story you would like to share, email us at 50@nziff.co.nz. Here’s what Wynne Colgan, chairman of the Auckland Division of the first Adelaide/Auckland International Film Festival in the NZ Listener had to say after the inaugural edition. “Auckland is far from making the Berlin-Cannes-Moscow league. Given time, though, it could join places like Cork, Karlovy Vary and San Francisco as a non-competitive showcase for the 20th-century’s most exciting art form. In this city of 600,000 there are young people intelligent, interested and informed enough to make the venture well worthwhile. 16,000 paid admissions prove it." Two years later Adelaide was out of the equation. The Auckland International Film Festival would morph again in 2009 to be re-branded along with its younger siblings around the country as the New Zealand International Film Festival. Its showcase for the 20th-century’s most exciting art form drew one of its biggest audiences (105,226 admissions) seventeen years into the 21st .This July Auckland’s International Film Festival hits its own half-century. Our celebration starts here.

Darkest Hour: Blu Ray Review

Darkest Hour: Blu Ray Review

Treading thematically similar territory as last year's Brian Cox-led Churchill, Darkest Hour sees Gary Oldman covered in liver spots and thrust into the political shenanigans and pressures of England's Darkest Hour in May 1940 during the second World War.

More inclined to seethe when it should roar, Joe "Atonement" Wright's film is more about visuals and framing of imagery than anything deeper within as the Anthony McCarten penned thriller follows Churchill as others swirl around him, unsure that their new leader could either negotiate a peace or deal with what's next.

Settling into a routine of plenty of scenes of old white men debating and discussing with a side of shouting thrown in for free, most of Darkest Hour is more about the machinations within the halls of power (but less of the West Wing snippy dialogue) than the human element.

It's hinted at in a few scenes here and there, but Wright and McCarten aren't as interested in pursuing that side of things.

Lily James' typist is troubled by the war for her brother, a woefully underused Scott Thomas' Clem worries her husband Winston isn't well enough for the job and concerns herself with money woes and one early scene with the children hint at the personal cost for Churchill's family, but it's slim pickings.

Central to all of this is Oldman's searing turn as Winston. With hints of vulnerability occasionally conveyed through the eyes and with thunderous emotion behind his speeches here and there, Oldman's immersed himself into the role and is all the better for it.

Equally as impressive is Mendelsohn as the stuttering King. Wisely underplaying, the Aussie's take on things is compelling, quiet and unassuming - and makes for great viewing.

Darkest Hour works best when it concentrates on him, but fails and falters when it casts the net wider.

Chiefly, a fanciful sequence on London's tube feels like something out of a propaganda piece and feels at odds with what's gone on - though is remedy for Winston's dark teatime of the soul.

In among all of Darkest Hour though are some wonderfully framed shots, some breathtakingly executed moments - including a whole room being soaked in red when Churchill delivers his first radio address and the 'Mic Live' bulb kicks in. It's here that Wright really grabs you and conveys the emotional heft which is needed.

With Nolan's Dunkirk being the perfect dessert to Darkest Hour's main meal, it's fair to see why Oldman is garnered some awards buzz for the role - he thunders when it's needed, but unfortunately the rest of the film feels lacking in his wake.

Shadow of the Tomb Raider Trailer Reveal

Shadow of the Tomb Raider Trailer Reveal

SQUARE ENIX OFFICIALLY UNVEILS

SHADOW OF THE TOMB RAIDER

Eidos-Montréal to Deliver Lara Croft’s Defining Moment

SYDNEY, 30^th April 2018 – Square Enix®, Eidos-Montréal™, and Crystal Dynamics® today revealed the full trailer for Shadow of the Tomb Raider™, the latest entry in the critically acclaimed and award-winning Tomb Raider® series. Created by a team of veteran Tomb Raider developers at Eidos-Montréal, in collaboration with Crystal Dynamics, the game will be available on September 14, 2018 for the Xbox One family of devices, including Xbox One X, PlayStation®4 system and Windows PC/Steam®.

Watch the full Shadow of the Tomb Raider Trailer

In Shadow of the Tomb Raider, Lara must master a deadly jungle, overcome terrifying tombs, and persevere through her darkest hour. As she races to save the world from a Maya apocalypse, Lara will be forged into the Tomb Raider she is destined to be.

The star of the critically acclaimed 2013 Tomb Raider reboot and the award-winning Rise of the Tomb Raider®, Camilla Luddington, makes her return as Lara Croft® with yet another stunning performance in Shadow of the Tomb Raider.

“Thanks to their incredible expertise, knowledge of the franchise and outstanding creativity, Eidos-Montréal, in collaboration with Crystal Dynamics, is delivering a powerful experience with Shadow of the Tomb Raider,” said Yosuke Matsuda, president and representative director of Square Enix Holdings Co., Ltd. “Shadow of the Tomb Raider will take the series to new heights and Lara Croft to new depths.”

“Shadow of the Tomb Raider will challenge Lara Croft in new and unexpected ways,” said David Anfossi, Head of Studio at Eidos-Montréal. “Our team has created a diverse set of skills, combat techniques and equipment for players to master, and they’ll certainly need them if they hope to survive the deadly jungle environments and tombs.”

Last Friday night, Square Enix welcomed fans, community leaders, press, and industry influencers to events in Montreal, London, and Los Angeles so they could experience Lara Croft’s defining moment as she becomes the Tomb Raider.  Now, a wealth of information, screenshots, and more is now available at TombRaider.com.

For full details on pre-order items, the Season Pass, key beats in the upcoming campaign, and more information on Shadow of the Tomb Raider, please visit the official website and follow us on Facebook and Twitter.

Related Links

Official Homepage: www.TOMBRAIDER.com

Official Twitter: @TOMBRAIDER

Official Facebook page: http://facebook.com/TOMBRAIDER

Official Tumblr: http://officialTOMBRAIDERblog.tumblr.com/

Official YouTube Channel: http://youtube.com/TOMBRAIDER