At Darren's World of Entertainment - a movie, DVD and game review blog.
The latest movie and DVD reviews - plus game reviews as well. And cool stuff thrown in when I see it.
EA ANNOUNCES SEA OF SOLITUDE IS COMING JULY 5 WORLDWIDE
Beautiful EA Originals Adventure Game by Jo-Mei Games Unfolds a Deeply Intimate Story of a Young Woman’s Emotional Journey to Overcome Loneliness
Today, Electronic Arts Inc. (NASDAQ: EA) and visionary German studio Jo-Mei Games announced that the story-driven adventure gameSea of Solitudewill be launching worldwide on July 5, 2019 via digital download onPlayStation®4, Xbox One and Origin™ for PC.Sea of Solitudeis an emotional experience that takes players on a personal journey to overcome a young woman’s inner loneliness. Players must help Kay see below the surface and beyond, guiding her through a flooded city landscape in a deeply touching tale of darkness and light. As waters rise and fall to reflect her own state of mind, Kay will meet fantastical creatures and monsters, learn their stories and solve challenges to rid the world of tainted memories.
Marvel’s Jessica Jones Season 3 - Date Announce & First Look Images
YOUR POWERS CAN’T SAVE YOU, JESSICA JONES.
Netflix announces that the final season of Marvel’s Jessica Jones, the ground-breaking, award-winning series about a New York City private investigator with incredible strength will launch all 13 episodes globally on Friday, June 14.
About Season 3: When Jessica (Krysten Ritter) crosses paths with a highly intelligent psychopath, she and Trish (Rachael Taylor) must repair their fractured relationship and team up to take him down. But a devastating loss reveals their conflicting ideas of heroism, and sets them on a collision course that will forever change them both.
The series is executive produced by showrunner Melissa Rosenberg (Dexter) andJeph Loeb (Marvel’s Daredevil, Marvel's Jessica Jones, Marvel's Luke Cage) who also serves as Marvel’s Head of Television. Marvel’s Jessica Jonesis produced by Marvel Television in association with ABC Studios for Netflix.
Season three cast also features Carrie-Anne Moss (The Matrix Trilogy), Eka Darville (Empire),Benjamin Walker (Abraham Lincoln: Vampire Hunter), Jeremy Bobb (Russian Doll), Sarita Choudhury (Homeland), Tiffany Mack (Hap and Leonard), Jessica Frances Dukes (The Good Wife), Aneesh Sheth (New Amsterdam) and Rebecca DeMornay (The Hand that Rocks the Cradle).
Cast: Godzilla, Ghidorah, roadan, Mothra, Kyle Chandler, Vera Farmiga, Thomas Middleditch, Millie Bobby Brown, Bradley Whitford, Charles Dance
Director: Michael Dougherty
It's sound, fury and utter levels of stupidity which are the order of the day for Godzilla: King of the Monsters, a film that makes less of a case for a cinematic universe than Godzilla and his Kaiju ilk deserve.
Picking up five years after Godzilla stomped through San Fran, decimating the streets and killing indiscriminantly, the film wisely harnesses its focus on Kyle Chandler and Vera Farmiga's parents Mark and Emma. Separated after the loss of their son in the carnage, and with a daughter (Stranger Things' Millie Bobby Brown) living with her mother, Mark is a lost soul.
Whereas his former wife, Emma, has developed the Orca (a MacGuffin of the highest order) used to placate the Titans roaming the earth. However, when it appears that Emma and her tech have a breakthrough, it's stolen in a shoot-out at shadowy clandestine organisation Monarch, orchestrated by Charles Dance's baddie. Seemingly intent on raising the Titans from their respective global dormancy, Mark finds himself - along with various grunts and other one-note characters - thrust into the fight to save the day and prevent a repeat of the destruction of five years ago.
Godzilla: King of Monsters is a maddeningly average, and at times, awful film.
Muddy dark visuals mar what transpires on the screen (so much so, it's on a par with Game of Thrones' dark battle for Winterfell), terribly written human characters shout and do little to advance the story other than to bark exposition.
It exists solely to provide Kaiju carnage, as the film lurches as much through its 132 minutes as Godzilla going through a sea of treacle.
It's not what the Monsterverse wanted or needed; and while the parents-torn-apart trope is a well-worn one, the actors aren't given much to work with. With the exception of Bradley Whitford who relishes every syllable of lunacy dripping from his mouth, the main cast struggle through paper-thin motives and less than impressive character "arcs".
In terms of the monsters, the Kaiju and their subsequent fights are impressive - when you can make them out. Cast against dark backgrounds, and lit only to service storyboard outlines it appears, they work as forces of nature and destruction like they should. But the poor lighting of the film sees you straining, when you should be being doused in eye-popping action, not pondering if you need glasses.
Ultimately, in Godzilla: King of The Monsters, Dougherty and the gang try to have their Kaiju cake and eat it.
But by neglecting the humans to deliver only rote moments and by muddying the action, the film emerges as a gigantic bum note, a monstrous mess that does little to service the Godzilla legend and more to bury it in the sea forever.
There are important things to say about racism in America right now, and in its past.
Unfortunately Green Book is not that film to do so, preferring instead to tread a middle of the road gentle path as fluffy and as cinematically comfortable as the blanket musician Dr Shirley swathes himself in in his car early on.
Inspired by a true story it may be, but this is Hollywood race relations 101 with every conceivable "twist" coming from a mile off, no matter how pleasantly and pedestrian-like it's executed.
It guarantees not to surprise in its tale of Italian Tony the lip (Mortensen playing the best bullshitter with two ts there ever was) and haughty pianist Dr Shirley (Ali) as this odd couple treads the usual route of a road trip movie, complete with stereotyped characters.
In 1960s New York, working-class Italian-american bouncer Tony Vallelonga finds himself out of work. Co-opted into applying for a job with classical pianist Don Shirley (a quiet and restrained Ali, precise and pristine), Tony finds himself driving the musician from gig to gig - and encountering the best and worst of the American Deep South.
But with some fine performances thrown in from its leads, its brush strokes will be palatable enough to audiences seeking a shot at redemption and unwilling to grasp the ugly realities of Deep South USA's racism from the past.
It's a shame that the script (adapted from Vallelonga himself) couldn't have thrown a few more curve balls into proceedings rather than the cliched set of sequences which unfurl. From the obvious segregation overtones to a police showdown, the film's aware to some degree of what needs to be shown, and hits every rote racism note it can.
However, when it's confined to the banter and the relationship between Tony and Dr Shirley, there's a geniality in this that's hard to deny. Sure, it's all perfectly predictable and safe, but there's a real feeling of an arc between the pair that makes for captivating viewing. Less than a reverse Driving Miss Daisy, and with the obvious lessons being taught at every level, Green Book's clearly awards bait, a genial gentle throb of a film that's episodic, broad strokes and nothing more.
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.
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.
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.
