E3 2018: Bethesda showcase

E3 2018: Bethesda showcase

Watch live video from Bethesda on www.twitch.tv

E3 2018: XBox Press Conference

E3 2018: XBox Press Conference

San Andreas, Midnight Club: LA, and Table Tennis Now Playable on Xbox One with Backward Compatibility

San Andreas, Midnight Club: LA, and Table Tennis Now Playable on Xbox One with Backward Compatibility

Grand Theft Auto: San Andreas, Midnight Club: Los Angeles and Rockstar Games presents Table Tennis are now all playable on Xbox One via Backward Compatibility.

Digital game owners have instant access to these titles on Xbox One, which can be downloaded from the console's “Ready to Install” section. Physical game owners just need to insert the game disc into their Xbox One, and from there will be prompted to download the game.

For those yet to experience any of these classic Rockstar titles, they are all available to download directly from the Xbox Store, using the links below.

Grand Theft Auto: San Andreas | Midnight Club: Los Angeles | Rockstar Games presents Table Tennis

Win a double pass to see Ideal Home

Win a double pass to see Ideal Home

In IDEAL HOME, celebrity chef Erasmus (Steve Coogan) and his partner Paul (Paul Rudd) have a happy and self-indulgent life together.

Their perfect existence is turned upside down when, at a dinner party, Erasmus is surprised by the grandson he never knew he had.

With the child’s father in prison, they decide to take him, which could prove a recipe for disaster.

Filled with heart and humour, this new family looks set to serve up one of the most deliciously funny films of the year.

Ideal Home hits cinemas July 5th
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 HOME

Competition closes July 1st

Little Nightmares: The Complete Edition: Nintendo Switch Review

Little Nightmares: The Complete Edition: Nintendo Switch Review

Released by Bandai Namco

Platform: Nintendo Switch

Collecting together the basic release along with all the downloadable content from the Secrets of the Maw pack, the definitive version of Tarsier Studios side scroller translates reasonably well to the Switch.

There's something extremely ghoulish about this little platformer that has a terrifying habit of getting under your skin.

And it all starts off so cutely, with Six, a girl in a yellow raincoat waking up in what appears to be the bowels of a ship. With no real clue of how to escape, it's up to you to try and progress through the various oblique puzzles and settings and avoid the rather macabre creatures that want to grab and eat you.

Disturbing is Little Nightmares prime MO. From a grey mattress where you begin to crawling through service ducts to creatures clawing at you, this is a Tim Burton-esque treat that really rewards your patience.
With scattered directions from the AI over how to move things and how to progress, the game's very occasionally an exercise in patience more than anything else. Partly because it's never initially clear what you have to do to keep on moving and while you're stalking through the shadows, you're never quite clear what exactly you will be bumping into.

Armed with only a light whose flame flickers, Six is a cute proposition that finds herself slap-bang in a nightmare. There are little facials on show, but somehow the inherent plight of her captivity comes to the fore.

Also coming to the fore are the more horrific elements of the game. One room early on sees you finding a pair of legs dangling from the top of the screen, with a chair under them. Clearly, there's been a suicide here, but the game doesn't allow you to dwell on that. Instead you perversely have to drag the chair across the room so that you can clamber up it and swing on a door handle to keep on moving.

It's this kind of nightmarish vision that helps Little Nightmares through some of its darker edges. And on the Switch, out of its cradle, sometimes, Little Nightmares is darker than it needs to be - or should be.

It does take a great deal of patience here and there, to allow a degree of lateral thinking to help you solve what needs to be done. But sometimes the fact you simply get up, walk away and have a Eureka moment is to the game's strength.

But at times, that moment takes a lot to come, and how much you're willing to sacrifice to get there, is entirely upto you.  It can be rewarding in among the dark and the game's to be commended for somehow managing to convey that horror that something is stalking you and breathing on your neck via its imagery rather than via its outright obviousness.

At the end of the day, the fact a game like Little Nightmares from Tarsier Studios even exists to haunt us is great news - creativity can be clever and Little Nightmares will invade both your waking and sleeping hours in ways you may never expect.

Taking in the DLC and the chance to be The Kid, extends Little Nightmares appeal - and given its portability, the Switch version shows that the game is definitely on to keep the grey matter both engaged and enraged.

Win a copy of Lady Bird

Win a copy of Lady Bird

Christine “Lady Bird” McPherson (Saoirse Ronan) fights against, but is exactly like, her wildly loving, deeply opinionated and strong-willed Mom (Laurie Metcalf) – a nurse working tirelessly to keep her family afloat after lady Bird’s father loses his job.

Set in Sacramento California in 2002, amidst a rapidly shifting American economic landscape Lady Bird is an affecting look at the relationships that shape us, the beliefs that defines and the unmatched beauty of a place called home.

To celebrate the release of Lady Bird, thanks to our pals at Universal Home Entertainment, you can win a copy of three being given away!

Good luck!

Lady Bird releases June 13th


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 LADY BIRD

Competition closes June 21st

Hereditary: Film Review

Hereditary: Film Review

Cast: Toni Collette, Gabriel Byrne, Alex Wolff, Mille Shapiro, Ann Dowd
Director: Ari Aster

Blending psychological terror, a portrait of grief and some bravura directorial touches from a debuting Aster, Hereditary is currently being acclaimed as the scariest film since The Exorcist.

It's a claim which detracts from the film and which piles expectation unfairly onto the indie release - but it is pleasing to note that over the course of an extremely unsettling 2 hours, Ari Aster's debut is as exciting as it is enticing.

A tautly wound Collette plays Annie, a grieving mother who's just lost her apparently monstrous mother. As the film begins, the family is recovering post funeral, with her daughter Charlie (newcomer Shapiro) claiming to see the grandmother, and with son Peter (an utterly terrific turn from Wolff) becoming more distant. Barely supported by her husband Steve (an understated Byrne), Annie begins to experience visions and see things that shouldn't be there.

Steeped in tragedy, and with some genuinely gut-wrenching moments, Hereditary works best on the angle of whether Annie's imagining it as her grip on anything begins to unravel.

Drenching everything in dread, and employing some of the usual tropes of the horror genre (long, slow pans, a rising soundtrack), Hereditary feels compulsively fresh and equally sickening. While the ending, complete with its dumped exposition and reminiscent of moments of The Blair Witch Project and Paranormal Activity's devilish cult denouement, feels a little rushed and almost laughable, the great majority of Hereditary is genuinely chilling stuff. Especially when the cards are stacked in favour of a possession tale rather than a supernatural explanation for everything.

Hereditary works best in large swathes when considered as a treatise on grief, and most of the cast play this as their raison d'etre throughout. Certainly Collette and Wolff are terrific, delivering performances which captivate as the cameras linger on them and their growing and increasingly weird predicaments.

Aster's the main star here though - whether it's a clever opening shot that takes us inside a dollhouse fashioned by Annie's meticulous eye or the transition between night and day that feels like a switch flicking on, Aster's aesthetics and eye for precision demand - and command - respect.

Ultimately, while Hereditary's end will prove rightfully polarising to much of the audience, the film's overall grip and commitment to its destination demonstrate its reason to be viewed - it's genuinely the most uncomfortable you will feel in the cinema since The Babadook and is in touches, one of the unnerving experiences of the year.