Dogs: Netflix Review

Dogs: Review

If a show is called Dogs you can pretty much guarantee what it will be about.

But Netflix's Dogs, while packed to the gills with good boys, is about more than the bond with human and pooch.

This six part series, from Deliver Us From Evil's Amy Berg and Glen Zipper, is also about society and the subtleties that live within.

While it starts with the cute, the opening episode treads much of the same lines as recent cinema release Pick of the Litter, in that it tackles service dogs. But whereas the film keeps things fluffy, the doco chooses to go deeper into what the dogs mean to their various charges, in this case young Corinne whose epilepsy means her mum continually sleeps in the same room, but what also their presence does to the rest of the family - hint, it's no family pet (much to the consternation of one sibling whose constant queries over the dog show how she's bonded beforehand).

More powerful I'd wager is the second episode which tells the tale of a Syrian refugee desperate to get his dog Zeus out of there and into Berlin where he now lives. There's much more going on with Dogs than pure cuteness at a surface level. 

This tale is pertinent, globally acute and is as much about the refugee cost as a case of reuniting owner with dog.

It's some smart doco making that finds all the deeper facets and avoids the obvious easy routes - and Dogs does it well, with panache and pooches in equal measure.

For animal lovers in the know it's not exactly eye-opening stuff in some ways, but given people will be piqued by the cute pitch (Dogs!), the scope for education on more global issues is an opportunity well worth bingeing on.

You Were Never Really Here: Film Review

You Were Never Really Here: Film Review

Director Lynne Ramsay's thriller is bathed in brutality, but also beaten down in humanity.

A hooded, hulking and haunted Joaquin Phoenix is Joe, a hitman former veteran, whose specialty is saving children from sex rings.

Aside from the repugnance of his day job, Joe spends the time outside of the job looking after his mother, who's ailing and in need of care.

But when Joe's called in to a kidnapping of a US senator, what he believes is a cut-and-dry job turns into something a lot more personal - and potentially fatal.

Based on the 2013 Jonathan Ames' novel, Ramsay's sparsity with the camera work and the hallucinatory material within works masterfully for You Were Never Really Here.

It's aided by a sterling turn by Phoenix, whose intensity is suited to the anger contained within Joe as he dispatches his law-breakers with a hammer. But Phoenix also makes a case for real tenderness in terms of his interaction with his mother and also the victims of the child sex rings.

It's these touches which lift You Were Never Really Here out of the darkness that it inhabits.

Ramsay (who did We Need To Talk About Kevin) keeps things taut and interesting throughout - rather than fixating on the violent means of despatching, she angles the camera away from proceedings.

When Joe breaks into a hotel to free his victims, CCTV footage shows the scene but cuts just before the method of murder is revealed; equally a desperate fight on the floor is depicted through a ceiling mirror - it's impressive stuff that's not too showy, but very effective.

It helps with the disorientation too, as You Were Never Really Here has an overall feeling of thrilling wooziness as it plays out.

Greatly enhanced by a turn from Phoenix that keeps you riveted as the conspiracy plays out, You Were Never Really Here is as much of a trip for the audience as it is on screen.

It may be a trip to a seedy underbelly, but thanks to Ramsay and Phoenix, it's a trip that's well worth taking. 

Red Dead Redemption 2: PS4 Review

Red Dead Redemption 2: PS4 Review

Released by Rockstar Games
Platform: PS4

The third Red Dead game is already massive.

Massive in sales, massive in actual gameplay, and thanks to Dan Houser, massive in controversy, after he revealed "crunch" teams were working upto 100 hours a week to get it all done, prompting discussions about gaming industry working conditions.

When all is said and done, and regardless of right or wrong, it cannot be denied that what Rockstar has committed to the small screen in this game is truly incredible, game-changing, bar-raising kind of stuff.

You are Arthur Morgan, outlaw and member of the Van der Linde gang, who finds himself in 1899 after a botched heist. Hiding out and then trying to escape, it's up to you to negotiate the treacherous world within, and potential allies as you take part in heists, hunting and hollering utter chaos as the story unfolds.

To say Red Dead Redemption 2 is a cinematic game is an understatement.

It's clear every detail has been pored over repeatedly in setting this game on the right path, and whether that's right or wrong, given what was reported, it's hard to deny that this game has strived for perfection throughout.

Early visuals like a snowstorm, and the interaction of people within are just mind-blowingly impressive. There's no chance to run in this, and the system doesn't let you cheat as you try to make your way through; snowy crevices and peaks are stunning as well. Just don't try walking your horse over one, because the creatures won't let you do it.

There are plenty of controls in place for Arthur as well - he'll need to be fed, kept stamina up and also kept healthy. It's this kind of nannying, which while realistic to the game, reminds you that it's also a bit of a chore (much like Grand Theft Auto: San Andreas made you keep your protagonist alive) and does detract from simply getting on with the game.

There's an argument realism can be taken too far, but in making this as real as possible, this is what Rockstar have compelled you to do. And there are way too many controls to remember when necessary, so there's an argument it's all been over-complicated in some ways - which sounds like lunacy when you look at the scale of what's been achieved.

Visually, the game impresses on every level, from cinematics that feel authentic to switching cameras on scenes that makes you feel like you're in a Sergio Leone film, there's a lot to marvel in here.

The story's enjoyable too, and while the constant maintenance of your character may occasionally take you out of the action, it's fair to say that Red Dead Redemption 2 is a pinnacle of what gaming can do.

Rockstar Games have built on the success of previous titles like Grand Theft Auto and created an almost video game cinema experience that will continue to impress for years to come, and be emulated by others desperate to repeat their success.

Fantastic Beasts: The Crimes of Grindelwald: Film Review

Fantastic Beasts: The Crimes of Grindelwald: Film Review

Cast: Eddie Redmayne, Johnny Depp, Jude Law, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Zoe Kravitz
Director: David Yates

In truth, Fantastic Beasts: The Crimes of Grindelwald struggles to justify carrying on the franchise into five-films beast.

From the pen of JK Rowling and expanding on what was a flimsy compendium of creatures, the latest picks up the end thread of the appearance of nasty wizard Grindelwald (Depp, bleached white, and downplaying the menace for once) and ups the ante with talk of shattering the fragile peace between the wizarding world and the Muggles.

Finding himself in the centre of all this is Eddie Redmayne's awkward, but openly honest and pure-of-heart Newt Scamander, still being punished for his altruistic actions in Fantastic Beasts.

To say more, is to break the marketing omerta imposed on all reviewers, but suffice to say the problem with Fantastic Beasts 2 is that it gets tied up in its own world, starts talking only to its own and not the average Muggle who's not that keen on every throwback.

Character arcs feel unformed with one twist feeling unearned and emotionally underwhelming, demanding you appreciate them because you met them in the last film, rather than for their own journey.

And for a film whose subtitle is The Crimes of Grindelwald, Grindelwald himself carries out scant any crimes - although given the uproar of Johnny Depp's casting as the veiled Trumpian baddie, some may strongly disagree.

The major problem is a lot of what's delivered here is swathed in large amounts of world-building, of set-up and of promises further down the line; sub-plots swirl and float, leaving undernourished edges to waft among the murkily executed CGI.

Of the principal cast, Depp is serviceable and serves really to bookend the film; Redmayne and Waterston conjure up the same kind of tension that was last seen executed by Edward and Bella in The Twilight Saga; and Law brings a heart and earnestness to a young Dumbledore which is sorely needed to anchor the film's lack of anything else.

Ultimately, the Fantastic Beasts film series needs to deliver more of a case for being fantastic and bring the magic back to the world - and feel like less of an ill-conceived thinly-veiled cash grab to extend a dying franchise.

Call of Duty: Black Ops 4: PS4 Review

Call of Duty: Black Ops 4: PS4 Review

Released by Activision
Platform: PS4

Embracing the multiplayer after the likes of PUBG and Fortnite radically changed the game, the latest iteration of Call of Duty ups their multiplayer ante by ditching singleplayer for more of a current gaming trend approach.

By finessing gunplay and ensuring the basics work, Treyarch's jewel in their crown is Blackout, a Battle Royale which plops you into a 100 PvP shootout to the death. Uncompromising in many ways, the game's brutality is also its selling point, and given how the Battle Royale approach to gaming has overcome the marketplace, Call of Duty's take on it all is actually quite impressive, adrenalin-pumping and genuinely enticing.

With a trio of solid maps and the return of Zombies as well, the latest game doesn't really suffer from the lack of single player, though there is an argument that newbies to the franchise won't want to dive into the intricacies of the online multiplayer, only to be picked off early on.

You'll need to have your wits about you too as well, given that the game doesn't auto-regenerate you, and while this feels more realistic, making you concentrate on what you're doing, rather than going hell for leather and shooting everything that moves.

Solo Missions looks into the background of the team and there's a lot of a push to promote co-operation, which makes sense in the multiplayer mode.

Graphically the look of Call of Duty: Black Ops 4 is the first person shooter you've come to expect; it hits the marks needed, and while this release's downfall is the lack of a single player campaign, it's understandable why the developers have moved in this direction.

The problem with it is that while regular fans of the shooter genre will be happy, and COD fans will be pleased with what's presented, newer non-fans of the FPS genre may struggle to find this as an entry point - it's not a fatal wound, but it may be one worth considering when the next iteration is considered, and when the servers struggle to match make.

Spyro™ Reignited Trilogy is out now

Spyro™ Reignited Trilogy is out now

Spyro, the iconic purple dragon that entertained living rooms worldwide in the late ‘90s, is making an epic return today with the release of Spyro™ Reignited Trilogy.

Even Snoop Dogg is excited and after 2,808 miles across America, the first fire-breathing and talking Spyro drone made it to Snoop’s house and delivered the goods!

Spyro Reignited Trilogy introduces players to a fully remastered game collection with a re-imagined cast of characters, animations, environments, brand-new lighting and recreated cinematics—all in stunning HD. The game is available now on PlayStation® 4, PlayStation® 4 Pro and the family of Xbox One devices from Microsoft, including the Xbox One X.

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The Old Man & The Gun: Film Review

The Old Man & The Gun: Film Review

Cast: Robert Redford, Sissy Spacek, Casey Affleck
Director: David Lowery

Touted as Robert Redford's cinematic swansong, and marketed thus, the latest film from A Ghost Story's David Lowery uses Redford's undeniable charm to maximum effect in his take on a true story.

Redford plays Forrest Tucker, a career criminal who used a smile, an apparent gun and a suit to rob banks. Never anything other than unflappably polite, Lowery's tale follows Tucker post-robbery as he encounters Spacek's Jewel, broken down on the side of the road. Striking up a friendship and romantic spark, Tucker resists Jewel's attempts to find out what he does, claiming he's a salesman.

However, on the side, Tucker continues to rob banks with minimum fuss, engaging the interest of ennui-ridden's Detective John Hunt (Affleck), who's hit 40 and is tired of the life he leads.

Piqued by the case dubbed the Over-The-Hill-gang (and more specifically the thrill of the chase) Hunt and Tucker engage in a cat-and-mouse game throughout the years.

The Old Man & The Gun is an intriguingly relaxed film, one that feels like a 70s caper, but resists the smash-and-grab thrills of the heist genre.

Whilst its jazzy score leaves a little to be desired throughout, and is never quite successful in underscoring the atmosphere, the gentle charms of Lowery's piece are curiously affecting in ways that would work even if this were not Redford's farewell.

It may feel like the characters are underwritten in parts - certainly, in Tucker's case, there's nothing but a sort of admiration for the general ballsiness he has to carry out his robberies; but in truth, Redford imbues Tucker with a sort of affection and charm that is more affable rogue than psychologically-scarred inveterate criminal.

It's suited to the way Redford's played his career in many ways, but Lowery's also smart enough to ensure he doesn't overplay the edges, and still adds in some levels of suspense, where really little exists.

There are attempts to flourish the film with 80s-style montages and quick split-screen cuts, but in truth, The Old Man & The Gun is anything but flashy, preferring instead to lay out the threads, subtly tie them together and then have them coincide unexpectedly.

It's not all entirely successful - certainly Elisabeth Moss' cameo seems at odds with the rest of the film, and hints at a darkness that's never fully explored or explained, which would have added further depths to Tucker's behaviour and make-up.

Spacek and Redford have a rapport that's hard to shake, and certainly Jewel's attempts to straighten him out over the years when their paths collided are exerted in subtle moments from the script. Plus there are long shots of the duo simply talking or engaging in daily routines which are seldom seen on the screen these days.

Gently cruising through its 90 minute run time, The Old Man & The Gun works in many ways, and fails in some. But as an almost-shaggy dog story unfolds, it does wrap you up in its charms, and provides you with a poignancy that's hard to shake.