The Hummingbird Project: Film Review

The Hummingbird Project: Film Review

Cast: Jesse Eisenberg, Alexander Skarsgaard, Salma Hayek
Director: Kim Nguyen

Eisenberg and Skarsgaard team up in this seems-like-it's-true story of two cousins, who work in the high frequency trading market.

Eisenberg is Vinny Zaleski, a dreamer who has a vision of building a pipe across America to get the futures stocks before anyone else, and therefore make more money. A balding Skarsgaard is the more introverted Anton, a coder and over-thinker whose job it is is to shave vital milliseconds off the travelling data tube.

As they put in motion the plans for their fibre-optic dreams, reality starts to intrude - and their former boss (Hayek, in greying wig) starts to take them on.

The Hummingbird Project is a film that's a little too dry to engage in its obvious underdog trappings.

Eisenberg brings his trademark fast patter and slightly annoying edges to Vinny, resulting in an ingenue that's hard to back from the off. Equally, Skarsgaard is so dialled down in his closed down Anton that his spouting about neutrinos and milliseconds is enough to make you detach completely.

These are characters that you don't fully engage in and at times, in this story where you want the underdog to win, it's a crippling factor.

That's not to say Nguyen doesn't deploy the film with a degree of skill; it just occasionally could have used a little more urgency. Though, in fairness, this is a film that's more interested in the two main characters rather than supporting players. Unfortunately, their surface deep personalities don't add much to the mix.

A little more depth over why Vinny is so driven would have helped, and could have lifted The Hummingbird Project into something of the realm of the truly thrilling, as opposed to the occasionally drab.

They Shall Not Grow Old: Blu Ray Review

They Shall Not Grow Old: Blu Ray Review

Sir Peter Jackson's harrowing, haunting and ultimately humbling documentary about those who went off to World War I is a must-see.

Recolouring footage from the museums and using archive interviews, Jackson pulls together a coherent narrative and fascinating portrait of army life.

The coup de grace comes when the "weedy, sallow, skinny children" are brought to life with colour, their time in the trenches imbued with pathos as well as pastels.

Jackson's to be lauded for not shying away from the brutalities of war either - bodies are seen, flies hanging around them and blood staining their clothes; every moment is writ through with humility and humanity.

Not once do the filmmakers resort to cheap tricks to bring their story to life. Respectfully selecting clips and chat with the soldiers, there's a veracity in They Shall Not Grow Old which is hard to ignore.

An essential viewing experience, They Shall Not Grow Old is the gold standard of war documentary making. By keeping every single face alive, and by never shirking from the horror (a returned soldier from the front walks past the camera, his hands visibly trembling), the film's an urgent portrayal of war life and a humbling salute to the bravery of those involved.

Mortal Kombat 11: PS4 Review

Mortal Kombat 11: PS4 Review

Developed by Netherrealm Studios
Released by Warner Bros Studios
Platform: PS4

Brutally engaging and OTT violent, Mortal Kombat 11's back to fighting form with a game that's as immersive as it is obsessed with blood and gore.

Following the MO of previous games and beat-em-ups like Street Fighter, Mortal Kombat 11's story is about a corrupted Raiden who wants to protect Earth from her enemies anyway he can. And that involves fists and all manner of moves.

To be honest, the Mortal Kombat 11 game isn't really about story, and while that side of the game's competently handled, it has to be said the simplicity and relative fluidity of the game's moves make this more accessible than before to those who've never handled a brawler before.

With a roster of some 25 characters and some new and old favourites, it's clear Netherrealm's gone to extremes to make sure this covers all the bases in terms of popular appeal.

Tutorials are easy to navigate and prevent you from being overwhelmed with moves. The fighters handle themselves well and the game generally extends a hand to all, before bashing them to a pulp.

There's a lot of gratuity in the finishing moves, and while these are fun to start off with, after the umpteenth time of seeing them, the appeal's lost a little and the game flounders for something new to offer.

Small changes to previous iterations have meant a bit of an overhaul for the franchise, and while hardened Kombaters may find that frustrating, the open approach does work for newbies simply wanting to get involved.

Ultimately, Mortal Kombat 11 delivers the required amount of bash, offers a definite amount of development dash and will satiate those looking for a brawler with flair.

Brightburn: Film Review

Brightburn: Film Review

Cast: Elizabeth Banks, David Denham, Jackson A Dunn
Director: David Yarovesky

More than just its idea of what if Superman was bad one shot comic foundations, horror Brightburn is a slow-burning claustrophobic film that plays with the puberty tropes and chilling edges.

Banks and Denham are Tori and Kyle Breyer, haunted by infertility and proffered hope when a spaceship crashes to Earth at the back of their farmyard. (So far, so Smallville).

Growing up loved, Brandon (Dunn, at times distant, and other times intense and unsettling) takes a turn for the worse on the cusp of his 12th birthday with something awakening deep inside of him.

Brightburn's a taut and occasionally frightening film, with jumps coming from the atmosphere of unease spun by Yarovesky.

Sure, it mixes edges of The Omen with Chronicle, flirts with the Smallville origins, and plays a little too close with its core small cast of characters, but within its 90 minute run time, it offers up something that's a mix of originality with a dash of We Need to Talk About Kal-El than anything.

It messes with the innocence of boys, and plays on the fact their nature can turn, regardless of whether the love is there or not. It's a nice twist on the concept, and Banks sells it well, always wanting to believe the best of their gift from the skies.

While Yarovesky's to be applauded for being less interested in setting up the mythology of where Brandon's from, and concentrating more on the jolts and creepier edges, there's definitely a feeling that Brightburn could expand further (though a final reel moment seems misjudged in the wash) and provide more than just a take on skewed adolescence.

Ultimately, Brightburn delivers on its premise within a brisk run time and works well due to the mother / son relationship, as well as the Take The World storyline that develops.

It may be criticised for some of its more open edges, but in truth, what's laid out on the screen is smartly executed, and riveting, in spite of some minor narrative flaws.

Aladdin: Film Review

Aladdin: Film Review

Cast: Will Smith, Mena Massoud, Naomi Scott, Marwan Kenzari
Director: Guy Ritchie

As the House of Mouse continues to plunder its own back catalogue for a seemingly never-ending list of live-action remakes, Guy Ritchie's Aladdin emerges as the latest contender.

Following the 1992 story down to a tee, it's the tale of street rat Aladdin (Massoud, largely wooden other than in interactions with the genie) who parkours through the bazaars picking up goods where he can to exchange for food.

When Aladdin meets Princess Jasmine (Scott, given a moment of empowerment towards the end) he's smitten. But before he can act on this, he's stolen away by the villainous Jafar (Kenzari, muted, but for reasons that are obvious next to Smith's genie) to steal a lamp from a mysterious cavern....

Guy Ritchie and the team behind Aladdin don't do anything to radically tamper with the formula, instead adding embellishments and Ritchie's patented slow-mo action sequences to street escapes.

The slowing down and speeding up of portions of the action (such as it is) adds to a sense of style and individuality that 2019's Aladdin has. The arrival of Prince Ali is more OTT Bollywood reveal now, and the costuming pops with colours and vibrancy.

But the film's nothing without its genie. And in truth, Will Smith delivers a different performance than Robin Williams' iconic and much-loved Genie. Less Williams, more Fresh Prince-cum-Big Willy style, Smith's charismatic in the role, and cartoony when needed. He elevates every scene he's in, and certainly Massoud, while looking the part, sparkles more in his interactions with the genie than through the rest of the film.

It's not damning Aladdin's 2019 iteration to say it's all right - while some may lament Jafar's apparently less villainous outing this time around, it's hard to go up against the energy of Will Smith's genie and not suffer. Anything OTT for the villain would have rendered this cartoon-like and that's not what the live-action films need to be - they need to have their own individuality.

At its heart though, Aladdin is a family film that hits the fun needed and is never better than its original songs like Friend in Me, which have stood the test of time.

It may not be a Whole New World for the audience familiar with the original, but it does offer a chance for a new audience to engage with it and while it's a little overlong at 2 hours, it's largely entertaining popcorn family fare throughout.

The Man Who Killed Don Quixote: Film Review

The Man Who Killed Don Quixote: Film Review 

Cast: Adam Driver, Jonathan Pryce, Olga Kurylenko
Director: Terry Gilliam

Once upon a time, Terry Gilliam was creatively ruined by this film, a stuck in production hell piece about Don Quixote.

Finally, it sees the light of air.

Adapted from Miguel de Cervantes classic novel, and starting with the phrase, "25 years in the making and in the unmaking", it's the story of Adam Driver's Toby, a cynical advertising director, who finds himself trapped in the outrageous delusions of an old Spanish shoe-maker who believes himself to be Don Quixote (Jonathan Pryce).

As he negotiates the relationship, his grip on reality comes and goes.

There's a large degree of folly in The Man Who Killed Don Quixote, a movie that meanders and rambles as much as it crumbles with the weight of expectation.

It starts off well, with Driver's Toby losing command of a shoot bringing parallels to Gilliam's problems with shooting the film. And Pryce delivers a masterful turn as a man whose grip of what's going on is simply lost.

There are many parallels here - it's almost as if Pryce's Quixote is the perfect film, lurching back and forth from the grasp of Toby's director, hinting at what could be and sucking him in with his delusions. Maybe Gilliam was too close to this for too long, but The Man Who Killed Don Quixote is a film that's bathed in pretensions and threatens to get too close to delirium.

There are moments of humour throughout, and Driver's a likeable enough lead to pursue this film down the rabbit hole, but ultimately, The Man Who Killed Don Quixote is a film that just tests the patience rather than fully embracing what it could have been.

Rocketman: Film Review

Rocketman: Film Review

Cast: Taron Egerton, Jamie Bell, Bryce Dallas Howard, Richard Madden
Director: Dexter Fletcher

The musical biopic is so hot right now.

On the coat-tails of Bohemian Rhapsody, its global success and its unexpected awards success, it's no surprise that Rocketman arrives in cinemas with a weight of expectation.

With its more verite approach thanks to singing actors, rather than a performer miming, Dexter Fletcher re-teams with his Eddie The Eagle co-star Taron Egerton to take on the story of one Reg Dwight.

Beginning with the neglect in his childhood from his father and distant mother, to the discovery of his piano skills through to the tales of excess and stardom, Fletcher weaves an interesting tapestry of Elton John's life from the early years.

It's crowd-pleasing, conventional, and in the latter stages, somewhat camp, but never anything less than a spectacle.

Fletcher knows what the tropes of the genre are (early childhood adversity, self-doubt, midlife adversity, lovers adversity and ultimately self-acceptance) and skirts through them with ease.

At times, this is both a good and a bad thing for Rocketman, with the film feeling very much like outside of Elton John himself, it  skirts over some character edges, which is much to its detriment. (The only female character of note is John's grandmother).

Even the darkness of Elton John's life are given a light touch, but are never shied away from, as Fletcher pulls what could easily be a stage show, framed as it is with John's AA group confessional, into something that becomes a jukebox piece tale of acceptance, dishing out the hits when the energy hits a lull (as it does in the final third).

In truth, Rocketman is never better than when it's a balls-to-the-wall brazen musical.

From the younger version of Elton John bursting through a pub and segueing into Egerton's look to Saturday Night's Alright for Fighting, to John's Troubador club appearance in the US where the music literally lifts the audience through euphoria, via Pinball Wizard's swirling piano as the film shuffles through numerous outfits and John's need to be his on-stage persona cycles through, Fletcher's smart enough to deploy some visual flourishes to keep the film engaging as the energy levels teeter dangerously high to exuberant.

It's less successful in some of the more human elements - but not because of Egerton's efforts as Elton John.

Moments when Elton interacts with his stifled father desperate for love are given a tremendous resonance in their brief outings. And while Richard Madden brings a dangerous smouldering to his manager-cum-lover, it's Egerton who sells the relationship with the most subtle of touches.

Ultimately, much like Bohemian Rhapsody, it won't matter what critics make of Rocketman.

In places, it soars, a spectacle of a tried-and-tested story of acceptance; elsewhere, it's grounded. But audiences will adore its commitment to being crowd-pleasing, its desire to entertain and its salutation to the early part of the Elton John legacy.

The Guilty: DVD Review

The Guilty: DVD Review

Taut, terrific and twisty, The Guilty's captive setting and lead man make director Gustav Möller's claustrophobic call centre flick one of the most compelling of the festival.

Nearing the end of his potentially last shift, Jakob Cedergren's policeman Asger Holm is a troubled man. With a court appearance the next day, press hounding him, and colleagues clearly less than enamoured with him, Asger appears to simply want to get it done, and move on.

A series of emergency calls come in - each more mundane than the next in his eyes, but each vital to those dialling for the help. Then a call comes in that sets his senses off - an apparent kidnapping.

With the clock ticking in real-time, Asger decides to go back to his policeman roots and try and solve the case....

To say much about The Guilty's reveals is to spoil the elements carefully placed together by Cedergren and director Möller.

Background pieces are trickled through, each dripfed when needed and each naturally inserted into the narrative rather than shoe-horned in. As Asger tries to piece together the kidnapping, the audience is left piecing together him - it's a fascinatingly compelling touch from Möller and one which is wonderfully played by Cedergren's subtleties. The smallest of looks here, the slightest of twitches of behaviour there reveal more than screeds of exposition ever could - and The Guilty sells it right down the line.

Möller also delivers some directorial flair into the setting as well - he refuses initially to show anyone other than Asger in focus, hinting at Asger's perception that others around him are worthy of his time and temperament. Asger himself is never pictured in anything other than close up until it starts to unravel for him - all demonstrating more about character than dialogue would ever achieve.

As a result The Guilty becomes a film that looks like it's destined for a Hollywood remake. Sure, it's got touches of Locke and Buried, but it's also got a panache that's all its own and a sleekness which sets it above many other entries.

Clever, compelling, and character-led, The Guilty is a festival must-see - a stripped back, pared down character piece that's almost Shakespearean in its tragedy. See it now, preferably Hollywood miscasts its lead in its remake. 

First look: Quentin Tarantino's Once Upon A Time In...Hollywood

First look: Quentin Tarantino's Once Upon A Time In...Hollywood

The first trailer for the much-awaited new film from director Quentin Tarantino's Once Upon A Time In...Hollywood has arrived.

“In this town, it can all change…like that.”

Watch the new #OnceUponATimeInHollywood trailer - In cinemas August 15.

Quentin Tarantino’s Once Upon a Time... in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt) make their way around an industry they hardly recognize anymore.  

 The ninth film from the writer-director features a large ensemble cast and multiple storylines in a tribute to the final moments of Hollywood’s golden age. 

First look: Downton Abbey movie trailer

First look: Downton Abbey movie trailer

A celebration of royal proportions is to be had this morning! 

The trailer for the highly anticipated Downton Abbey movie is here ahead of release on September 12, 2019.

CAST & CREW

Directed by: Michael Engler (The Chaperone)

Starring: Hugh Bonneville, Laura Carmichael, Michelle Dockery, Elizabeth McGovern, Maggie Smith, Allen Leech, Joanne Froggatt, Jim Carter, Brendan Coyle, Sophie McShera, Leslie Nichol, Robert James-Collier, Penelope Wilton, Harry Hadden-Paton, Imelda Staunton, Tuppence Middleton, Matthew Goode.

Storm Boy: DVD Review

Storm Boy: DVD Review

Based on a famous Australian school text by Colin Thiele, Shawn Seet's reimagining of the 1976 film Storm Boy digs deep from the well of earnest reaction to environmental concerns, while never straying too far from the central story of a boy and his friendship with a pelican.

Rush is a mournful Mike Kingley, called into a family conference over whether to allow a sell off of land for mining. Unsettled by his granddaughter's complaints over whether it's morally right, Mike decides to reflect on his past relationship with his own father and with a trio of orphaned pelicans he rescued from hunters.

Storm Boy is a curio of a film.

Clearly, in some ways, out of time from what kids and teens may come to expect from films in these superhero-filled days, Storm Boy charts a path towards a decent relationship movie, that's somewhat stymied by unsubtle touches of environmentalism.

The central story set in the past between Mike and his relatively aloof father (Courtney, doing a lot with very little) is your typical tale of man and animal bond, given a refreshing honesty and earnestness that proves hard to deny.

But the flashes back and forth prevent the narrative from fully feeling fleshed out and create a disruptive flow that's hard to shake, in among Seet's overuse of slow-mo shots and blurred images of hunters, guns and waters sullied by cans.

Rush is nicely mournful, and delivers a character who clearly rues a lot of what life has dealt to him, as he faces one last real chance of making a difference for eternity. There's a soulful edge to his performance, and while some may be too caught up in the troubles facing him in real life to focus on what's on screen, he more than delivers a melancholy turn.

In the flashbacks, the contrast with wide-eyed newcomer Little and slightly underplayed Courtney works well. And certainly the animal interactions add much heart to keep the younger end of the audience engaged.

While the film's less successful with its environmental edges, preferring to be blurred rather than outright and honest, Storm Boy is a film that feels refreshingly old school and yet bizarrely, may fail to find an audience who will be anything but inured to its charms. 

The Mule: DVD Review

The Mule: DVD Review

Clint Eastwood's back and this time, he's looking somewhat worse for wear.

Walking with a stoop, and a hunch, shuffling along, the 88-year-old proffers his take on the New York Times' piece,  "The Sinaloa Cartel's 90-Year-Old Drug Mule."

Eastwood is Earl Stone, a horticulturist whose specialty is lillies. But his time on the farm tending to the flowers which bloom and die in one day has come at a cost - estranged from his family for choosing work over them, his world is empty when his farm is foreclosed.

Offered a chance to make some money when desperation hits, the curmudgeonly Earl takes up the chance to transport some goods for the Mexican cartel, thanks to his clean record, and lack of criminal history.

But unbeknownst to Stone, the DEA is pulling together a case against the cartels - and his involvement sets him on a collision course with an agent (Cooper) keen to close the group down.

The Mule is a reflective piece, aimed at provoking viewers into thinking about their own propensity for work over family.

It's also one which advocates for Earl Stone, his dubiously racist views and his approach to life.

Yet Eastwood gives the old man something of a relatable edge, and in the latter stages of the film, he delivers a degree of pathos to the man realising he couldn't have bought more time, even if he'd tried.

It's a hard ask in the back portion of the film, because the family are more broadstrokes characters early on, rather than deeply immersive ones that you know he'll orbit. Thankfully scenes with Eastwood and Wiest have a depth that's tangible, and are blessed with a humanity that's hard to ignore.

Eastwood wallows in the stubborn - whether it's railing against the internet, calling people Negroes when helping them, or mocking a Mexican cartel member by comparing him to a Nazi. Regardless of whether you buy into the racist furore in some quarters, there's no denying that Stone is a product of his time, and Eastwood has no difficulty breathing life into the old dog.

Make no mistake, this is no classic cat and mouse chase; there's a more genial gentle edge to the pace, something akin to Redford's The Old Man and The Gun from late last year.

It mutes the message it wants to deliver, and never quite ups the ante in terms of pace, being as fraily presented as Earl Stone himself .

Sure, there's a poignancy here to be had, and maybe some of it comes from how Eastwood looks, but thanks to thinly-etched edges, it never quite scales the heights you would expect this wistful drug trip to take. 

SEGA Mega Drive Mini announces more titles

SEGA Mega Drive Mini announces more titles

PREPARE FOR MEGA MAN: THE WILY WARS, STREET FIGHTER II’: SPECIAL CHAMPION EDITION AND GHOULS ‘N GHOSTS ON THE SEGA MEGA DRIVE MINI

Final 10 games will be announced in June!

Yes, that’s right! Capcom is about to bring the hurt with our next set of games coming to the SEGA Mega Drive Mini. Once exclusive to the SEGA Channel in North America, Mega Man: The Wily Wars, a compilation of the first three Mega Man entries, finds a new home on SEGA Mega Drive Mini! (We said only 40 games, right? Technically, that’s still true!)

The Blue Bomber will have some competition though, because here comes a new challenger—STREET FIGHTER II’: SPECIAL CHAMPION EDITION, one of the greatest fighting games of all time.

Speaking of which, we’re also happy to announce the Retro-Bit® SEGA Mega Drive 6-button controller will be released in late August. This will surely give you the ultimate advantage especially on games like STREET FIGHTER II’: SPECIAL CHAMPION EDITION, Comix Zone and Beyond Oasis!

Rounding out the list, we have the notoriously challenging Ghouls ‘n Ghosts. In order to save the souls stolen by the evil Lucifer, the brave knight Arthur must fight off hordes of demons and all that stands between him and certain death is a suit of armour.

The Next 10

1. Mega Man: The Wily Wars
2. STREET FIGHTER II’: SPECIAL CHAMPION EDITION
3. Ghouls ‘n Ghosts
4. Alex Kidd in the Enchanted Castle
5. Beyond Oasis
6. Golden Axe
7. Phantasy Star IV: The End of the Millennium
8. Sonic the Hedgehog Spinball
9. Vectorman
10. Wonder Boy in Monster World

SEGA Mega Drive Mini-FAQ:

Q. When does it launch?

A. 19^th September 2019

Q. How many games will be included?

A. 40 games.

Q. Which games will be included?

A. The first 30 titles included with the system, with the rest to be announced intermittently over the coming months, are:

Sonic the Hedgehog Ecco the Dolphin Castlevania: Bloodlines Space Harrier 2 Shining Force Dr Robotnik's Mean Bean Machine ToeJam & Earl Comix Zone Altered Beast Gunstar Heroes

Castle of Illusion Starring Mickey Mouse World of Illusion Starring Mickey Mouse and Donald Duck Thunder Force III Super Fantasy Zone Shinobi III Streets of Rage 2 Earthworm Jim Sonic the Hedgehog 2 Contra: Hard Corps Landstalker

Mega Man: The Wily Wars STREET FIGHTER II’: SPECIAL CHAMPION EDITION Ghouls ‘n Ghosts Alex Kidd in the Enchanted Castle Beyond Oasis Golden Axe Phantasy Star IV: The End of the Millennium Sonic the Hedgehog Spinball Vectorman Wonder Boy in Monster World

Q. Which version of the Mega Drive is the Mini based on?

A. It's based on the original Model 1 Mega Drive which launched in Oct. 1988 in Japan, Aug. 1989 in North America, and Nov. 1990 everywhere else.

Q. How big is it in comparison to the original console?

A. It's approximately 55% of the original Model 1 size.

Q. What do you get in the box?

A. The SEGA Mega Drive Mini comes complete with 40 games, Two replica three-button USB Mega Drive controllers, One USB to Micro-B power cable and One HDMI cable.

Q. Who handled the ports?

A. M2 is handling the porting process. They've previously worked on SEGA AGES and SEGA 3D Classics Collection, with a fantastic reputation based on the quality of their emulation projects and their faithfully recreated ports.

Q. Can I use original Mega Drive controllers with the Mini?

A. No, only the provided USB controllers or the Retro-Bit® SEGA Mega Drive 6-button controller.

The Chaperone: Film Review

The Chaperone: Film Review

Cast: Haley Lu Richardson, Elizabeth McGovern
Director: Michael Engler

With touches of a script from Downton Abbey's Julian Fellowes and adapted from a book by Laura Moriarty, The Chaperone is a classy affair.

Set in 1922, when the teenaged Louise Brooks (Richardson, in another impressive performance) was given the chance to go to dance school in New York, The Chaperone's more the story of McGovern's Norma.

Norma is a Wichita native, who yearns to spread her wings. So when she sees the opportunity to accompany Brooks to the big apple, she seizes on the chance. Along the way, there is rediscovery and also challenges for both.

The Chaperone may tread a familiar path in terms of coming-of-age films and social mores, but what it offers up is a chance to revel in the brevity of Richardson's precocious turn as the sparkling Brooks and stay for the more nuanced subtle journey of McGovern's Norma.

The trouble is the film's more obsessed with Norma's story, than Brooks herself.

It's not that McGovern doesn't deliver in a somewhat starched story, but more that it feels like something aimed at the older crowd, rather than a younger generation steeped in the Downton world.

The period detail is wonderfully evocative, and there's much to admire in the visualisation of the Jazz age, but there's a dialled down feel to The Chaperone which suggests a more buttoned up affair than is narratively worth investing in.

Ultimately, The Chaperone walks you through a period of history and a story, rather than letting you experience it. It's not a fatal flaw, granted, but it is one which stops the familiar tropes from soaring and hitting an emotional level you'd want to be more fully engaged.

Ben Is Back: DVD Review

Ben Is Back: DVD Review

A film of two halves, very much held together by a career best from Julia Roberts, Peter Hedges' addiction drama Ben Is Back treads some of the same furrows ploughed by Steve Carell and Timothee Chalamet in Beautiful Boy.

Set one Christmas Eve in rural America, Hedges is Ben, who returns without warning from the rehab centre he's been attending. While his mother Holly (played with emotional range and tenacity by Roberts) is ecstatic at his return, the rest of his family is wary, borderline suspicious.

However, over the 24 hour period, both Ben's resolve and Holly's love are tested, stretched to beyond breaking point.

Ben Is Back is a solid drama, that starts in a very familiar place and treads a familiar route before segueing into a different kind of film.

Hedges and Roberts deliver powerhouse performances that don't rely on the showy antics that can usually populate such dramas. And while Roberts' Holly delivers a couple of rants against the system that has pushed the drugs, this slight misstep is forgiven in the overall tableaux of the rest of the film.

Equally, Hedges gives Ben an edge of uncertainty, a feeling of a soul teetering on the edge as various truth bombs are slowly and subtly dropped by the script. While his relationship with Holly skirts around one of a child wanting to reconnect with his family, the film's indelibly exciting and emotionally raw.

Others get to flirt with this dramatic orbit too, but in the overall wash, Peter Hedges' script is about these two at the core - and consequently some of the later interactions with supporting players (notably Vance's husband Neil) feel less enticing as they could be, as they wallow in the underwritten and slightly cliched mire that's been created.

The second half of the film which switches from suburban angst to an examination of the druggy underbelly of Holly and Ben's home is an odd tonal lurch, feeling akin to Taken than anything else - and it also allows Hedges via Roberts to voice frustrations at drug laws and systems seemingly letting down the public. These moments derail the film and the intimate intentions of what transpires.

Ultimately though, Ben Is Back is a complex portrayal of a self-destructive relationship, an examination of the depths of love, and in Roberts, a sign that this actress continues to deliver a breadth that surprises and enthralls. 

Black Mirror Season 5 will arrive in June

Black Mirror Season 5 will arrive in June

Black Mirror returns with its much-anticipated fifth season on Wednesday, June 5th, exclusively on Netflix.

Five Groundbreaking Seasons.

Three All-New Stories.

One Future We Should Have Seen Coming...

Experience three all-new stories from mastermind Charlie Brooker and executive producer Annabel Jones, starring Anthony Mackie, Miley Cyrus, Yahya Abdul-Mateen II, Topher Grace, Damson Idris, Andrew Scott, Nicole Beharie, Pom Klementieff, Angourie Rice, Madison Davenport and Ludi Lin.

About Black Mirror

Black Mirror is an anthology series that taps into our collective unease with the modern world, with each stand-alone episode a sharp, suspenseful tale exploring themes of contemporary techno-paranoia leading to an unforgettable – and sometimes unsettling – conclusion. Without questioning it, technology has transformed all aspects of our lives; in every home; on every desk; in every palm - a plasma screen; a monitor; a Smartphone – a Black Mirror reflecting our 21st Century existence back at us. The series is created and written by Charlie Brooker, and executive produced by Brooker and Annabel Jones.

NZIFF 2019 first films are....

NZIFF 2019 first films are....

The New Zealand International Film Festival (NZIFF) today revealed five films from the highly anticipated 2019 programme, which will screen in Auckland from 18 July, and in Wellington from 26 July.

A 59-minute 3D tracking shot, Southern California neo-noir mystery, suicide space mission, Colombian Lord of the Flies style thriller, and a deep dive into our flourishing NZ wine industry feature in the line-up.

 “We’re excited to finally announce our first titles for 2019. A Long Day’s Journey into Night and Under the Silver Lake will make their long-awaited NZ premieres at NZIFF after premiering at Cannes last year. 

"We’ll also be presenting two of the most striking films from the past year,High Life and Monos, which premiered at Toronto and Sundance respectively and the world premiere of David Nash’s NZ wine documentary A Seat at the Table.” NZIFF Programme Manager Michael McDonnell

Titles for NZIFF 2019:

High Life

A forbidding spaceship carrying death row inmates hurtles towards oblivion in Claire Denis’s long-awaited, intensely hypnotic sci-fi opus.

https://www.nziff.co.nz/2019/auckland/high-life/

Long Day’s Journey Into Night

Part film noir, part dreamscape, this oneiric love mystery – acclaimed for its hour-long 3D sequence shot in a mesmerising unbroken take – intoxicatingly captures romantic obsession in southern China.

https://www.nziff.co.nz/2019/auckland/long-days-journey-into-night/

Monos

Like Lord of the Flies by way of Yorgos Lanthimos, this bold, bizarro Sundance sensation takes the feral power struggles of youth gone wild to the misty mountains and lush jungles of Colombia.

https://www.nziff.co.nz/2019/auckland/monos/

A Seat at the Table

Savour 100 minutes of eye-popping camera work, picturesque vineyards and gratuitous grape-fondling shots in this glorious toast to the talent and the stories behind New Zealand’s world-famous wine industry.

https://www.nziff.co.nz/2019/auckland/a-seat-at-the-table-1/

Under the Silver Lake

Deadbeat slacker Andrew Garfield delves into the labyrinthine mysteries of La La Land on the hunt for a missing girl in David Robert Mitchell’s oddball neo-noir thriller.

https://www.nziff.co.nz/2019/auckland/under-the-silver-lake/

Basic Bandicoots Beware – Customisation Coming to Crash Team Racing Nitro-Fueled

Basic Bandicoots Beware – Customisation Coming to Crash Team Racing Nitro-Fueled

For the first time, Crash Team Racing fans will have the opportunity to customise their karts and characters in Crash™ Team Racing Nitro-Fueled!

Revealed today in a tricked-out trailer, which you can check out here, Crash Team Racing Nitro-Fueled will offer players a variety of ways to mix and match kart bodies, wheels, paint jobs, stickers, and even add decals to karts.  Now fans – both new and those who first fell in love with the ’90s classic -- can create a sweet looking ride!  What’s more, karts from Crash Tag Team Racing will be available in the new game.

In addition to the ability to customise karts, Crash Team Racing Nitro-Fueled will also let players customise their racers. Yes, lead developer Beenox is adding N. sane character skins to the remastered game. This will allow players to adorn their characters with a zany sense of swag and personality -
Boo-ya! Also new to the CTR experience are unique podium animations available to certain skins making celebrating victories even more amazing. And if that wasn’t enough, characters from Crash Nitro Kart will be available in the new game.

Players will earn customisation items by playing through the Adventure Mode and also by collecting in-game Wumpa Coins to swag out their kart and characters in the game’s Pit Stop area. What’s more, character stats, just as you remember are returning and will include Beginner, Intermediate and Advanced classes. So, whether you are a first-time racer, or a pro eager to put your skills to the test again, the wait is almost over!

Crash Team Racing Nitro-Fueled launches June 21, 2019. 

RAGE 2 | Available Now

RAGE 2 | Available Now

Let the RAGE-ing commence! RAGE 2 is now available worldwide for Xbox One, PlayStation 4 and PC.

In RAGE 2’s “shooterverse,” you’ll experience classic id Software combat in an insane Avalanche Studios open world as Ranger Walker, the world’s closest thing to a superhero and best hope at overthrowing the tyrannical reign of General Cross and his mutated Authority minions.

Master your devastating arsenal of flesh-chewing weapons combined with your performance enhancing Nanotrite-infused abilities to help turn your enemies into gelatinous cubes of flesh. From the River Hogs of the swamps, to the Goon Squad of the wastes, to the sewer-dwelling mutants and the samurai-esque Immortal Shrouded, everything in RAGE 2 is out to get you. Make sure you get all of them first.

Want to learn more about what RAGE 2 brings to the table? Check out the website here to see all the insane videos, community content and more.

The Division 2's first eight-player raid begins this week

The Division 2's first eight-player raid begins this week

The first eight-player raid in franchise history

“Operation Dark Hours” is playable from this Friday.

SYDNEY, AUSTRALIA — May 15, 2019 — Ubisoft announced that “Operation Dark Hours”, the first eight-player raid in Tom Clancy’s The Division franchise history will be playable from 3am AEST Friday, 17 May. Tom Clancy’s The Division 2 is available on the Xbox One family of devices including the Xbox One X, PlayStation®4 computer entertainment system and Windows PC.

With “Operation Dark Hours”, Ubisoft introduces the toughest of all challenges to date. “Operation Dark Hours” will test the teamwork and ability of the most experienced agents who have reached World Tier 5 and defeated Tidal Basin. Operation Dark Hours will bring Agents to Washington National Airport, controlled by the Black Tusks who are using it to fly in even more soldiers and supplies. Capturing the airport will strike a significant blow to their operations. Players will discover that the technology available to the Black Tusk is even more advanced than what they had to face so far.

Players will take on some of the games’ most challenging bosses yet. In a team of 8 players, agents will have to figure out the fight mechanics and work closely as a team to execute their strategy in order to overcome these tenacious opponents. The Raid will reward players with exclusive loot, such as new gear sets, an exotic weapon as well as other unique rewards.

Click image below to view trailer.

The first team to complete “Operation Dark Hours” after it goes live will be forever immortalized in-game by having their team photo and names displayed in The Division 2’s White House for all players to see. All other players that complete “Operation Dark Hours” until May 23 will receive a commemorative Arm Patch, while players who complete the raid after those dates will be rewarded with a clan banner icon and a trophy in their clan space.

Fans can follow the race to the World First by checking out “Operation Dark Hours: Race to a World First” Twitch Rivals Program athttps://www.twitch.tv/twitchrivals.

Led by Massive Entertainment in collaboration with seven other studios around the world*, Tom Clancy’s The Division 2 is the next evolution in the open-world online shooter RPG genre that the first game helped establish. Set seven months after a deadly virus was released in New York City, Tom Clancy's The Division 2 brings players into a fractured and collapsing Washington D.C. The world is on the brink, its people living through the biggest crisis ever faced in human history. As veteran Division agents, players are the last hope against the complete fall of society as enemy factions vie for control of the city. If Washington D.C. is lost, the entire nation falls. Building upon more than two years of listening to and learnings from The Division community, Tom Clancy's The Division 2 will offer a substantial campaign that organically flows into a robust endgame, to create a cohesive and meaningful experience for all types of players, helping players emphasize their freedom to make strategic choices and hone their own approach.

For more information on Tom Clancy’s The Division 2, please visit: tomclancy-thedivision.ubisoft.com. For the latest news on Tom Clancy’s The Division 2 and all of Ubisoft’s games, visit Ubisoft News: news.ubisoft.com.