Armageddon opening night shots

Armageddon opening night shots

The annual Auckland iteration of the Armageddon festival is now underway.

You can meet stars of pop culture, anime, see the latest games, and just generally be around cool stuff at the ASB Showgrounds.

Gates opened tonight for a preview night.

Here are some shots from the opening night of Armageddon.

Maleficent: Mistress of Evil: Film Review

Maleficent: Mistress of Evil: Film Review

Cast: Angelina Jolie, Elle Fanning, Michelle Pfeiffer, Sam Riley, Robert Lindsay, Ed Skrein
Director: Joachim Ronning

The MVP of Maleficent: Mistress of Evil's slightly drawn out, thinly plotted very familiar story is not Angelina Jolie's angular angry fae, sadly.

It's Michelle Pfeiffer's scheming Queen, who dominates every scene she's in with a cool menace and is in serious contention for one of the most terrifying villains Disney's ever committed to screen.

In the sequel to 2014's Maleficent, Jolie returns as the icy fae, who this time around has to contend with her adopted human daughter Princess Aurora (Fanning) consenting to marry beau Prince Phillip.

Invited to a family dinner to celebrate, and with most of the kingdom terrified of Maleficent due to a smear campaign that's passed into lore, Jolie's fae explodes when pushed to the edge. Blamed for sending Phillip's father into a coma and cursing him, Maleficent has to contend with a daughter rejecting her too, as well as discovering that she is not the only one of her kind...

Maleficent: Mistress of Evil is not the strongest of films to be honest, in terms of plot, and execution.
However, it is a strong one for its messages.

It sidelines Maleficent and the wonderful Jolie way too much, consigning her screen time to too little when she should shine. Thankfully, she makes the most of her moments on the bigscreen, whether it's trying some forced humour with her sidekicks ahead of the family get together or wrestling with the discoveries she makes - the film is less without her around.

As mentioned, Pfeiffer owns her role from the moment she appears, oozing malice and menace with equal aplomb, and providing the backdrop for one of the most truly horrific sequences ever executed in a Disney film inside a church.

There are overtones of refugees here, overtones of humans pillaging and destroying the species of the earth and expressions of the horrors of exterminations and genocide - all relatively dark themes for a family friendly film. And director Joachim Ronning subtly blends them in to weave a film that may be solely headed just for a CGI fight sequence at the end, but that truly does pierce the heart with its horrors.

There's nothing new here in truth, but that's not to deny the impact of what transpires.

It's just a shame that this Twice Upon a Time yarn holds off from wielding its greatest asset - here's hoping a further sequel makes Maleficent as magnificent as she deserves.

Ride Like A Girl: Film Review

Ride Like A Girl: Film Review

Cast: Teresa Palmer, Sam Neill, Sullivan Stapleton, Stevie Payne
Director: Rachel Griffiths

The story of Michelle Payne, the first female jockey to win Flemington in 2015, the horse race which stops Australia should on paper be a home run.

In theory, an underdog story, a tale of female empowerment and of triumph in the face of adversity, it has it all as it goes into the starting gate, promising a powerful start and an uplifting final furlong.

But what emerges from Ride Like A Girl is a story given such a light touch that very little rarely lands as it should, despite the stoic work from Palmer, the reliable gruff from Neill as the emotionally stunted father and Stevie Payne as the real-life brother, Stevie.

The trouble is that Griffiths keeps flitting from one sequence of Payne's life to another, hardly allowing anything to resonate as it should. Equally the chauvinism and sexism that was thrown Payne's way warrants only the briefest of mentions in proceedings and certainly doesn't do much to increase the drama stakes.

Where the film is more triumphant is in its execution of the horse riding sequences, capturing both the intensity and the tension of the race from within the galloping cluster. It means that in these sequences alone, there's a palpable sense of stakes and tension.

And the family story at the heart of the Payne story is the one that beats a little louder than normal - certainly Stevie Payne brings real pathos to his role, and never once does the script play to an audience's easy expectations.

Ride Like A Girl does feel, at times, like a TV movie writ large but it lacks the conviction of its desired inspirations, preferring instead to plough a conventional and extremely safe path. Ultimately, because of that decision at a script and directorial level, the film rarely raises its head from the pack and disappoints what should have been an easy win.

Jojo Rabbit: Film Review

Jojo Rabbit: Film Review

Cast: Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson, Taika Waititi, Rebel Wilson, Sam Rockwell, Stephen Merchant, Alfie Allen, Archie Yates
Director: Taika Waititi

Marketed as an anti-hate satire, and facing unprecedented levels of hype out of wins at the Toronto International Film Festival and talk of Oscar buzz, director Taika Waititi's latest, Jojo Rabbit, is more a damp quietly burning squib than sensational fizzer.

Taika Waititi's Jojo Rabbit

It's the story of Jojo "Rabbit" Betzler (a superb turn from Roman Griffin Davis, who exudes confidence in every scene), a wannabe Hitler Youth whose days are haunted by imaginary best friend, a dimwitted Hitler (Waititi) and whose world is turned upside down when he finds his single mum Rosie (Johansson, soft and nurturing) is harbouring a Jew Elsa (a quiet McKenzie, aching with loss, fear, uncertainty and touches of bitterness) in the attic.

Confused and conflicted over what to do thanks to his core inner beliefs, Jojo finds his inner turmoil tough to deal with in the final days of the Third Reich.

While Jojo Rabbit opens with Waititi's trademark fantasy edges and comic touches, the film soon settles into something that resembles a form of disappointment as the satire fails to hit anything resembling scathing.

Perhaps more a soothing bittersweet love story, Waititi's Jojo Rabbit fails to touch on anything that verges on satire's sharpness, making the Nazis buffoons, or buffoons with heart, in something that seems to resemble great British sitcom 'Allo 'Allo (certainly in the case of Stephen Merchant's appallingly Bristolian Gestapo officer).

It's a film that revels in the quirks to start off with, before settling for this more cutesy and softer approach rather than revealing the horror of what transpired.

Whether it's enough to do this because it's through the eyes of a child is debatable, but it's perhaps somewhat morally reprehensible to try and pierce current climates and leanings with its weaker message, as perhaps those involved with the film want to do.

At its heart, Jojo Rabbit lacks the courage of some of its convictions, favouring whimsy over showing Jojo struggling more with his core Nazi beliefs, and making his inevitable epiphany feel unearned.

That's not to say it's without some successes though.

Davis is an incredible lead, a wide-eyed innocent who's able to carry the lighter comedic edges with ease, and who has the requisite softness for the more dramatic interactions with an equally strong McKenzie. Their relationship is obviously key to the film, and the love message that Waititi clearly wants to convey. Equally scenes with McKenzie and Johansson conversing, reflecting and hoping, are quietly enticing.

Rockwell's laissez-faire Nazi, complete with regret over an injury, is endearing, a resentment bubbling under for reasons that are again too spoilery to discuss; and McKenzie's quiet sadness as Elsa is genuinely heartbreaking, a fragility laid bare by an actress unafraid to let the silence speak for her.

There's one moment in the film that's truly devastatingly breathtaking - to say more is to ruin Waititi's directorial flair for the dramatic, but it is easily one of 2019's best on screen sequences.

Elements of Moone Boy and Moonrise Kingdom permeate Jojo Rabbit, but its reluctance to tackle fanaticism, and dogma with anything more than surface level whimsy is disappointing. Conversely, the film truly misses Waititi when he's not on screen, a sign perhaps of the confusion the tones mix.(His final appearances go someway to espousing some of the bilious hate of Hitler, and are terrifying to watch).

Make no mistake, there is a darker version of this film to be made, a film that fulfills more of the promise of Johansson's lamentations that she has lost her son to blind fanaticism as she opines at one point; a film that tackles the horror of the Nazis and overcomes it with the heart of a child and their burgeoning take on reality.

Jojo Rabbit is not it though - while Waititi may have been played into a corner with the best way to develop this passion project, there's much that leaves Jojo Rabbit wanting, a film that promises so much, and buckles, sadly, under the weight of expectation and ultimate execution.

First look: Star Wars: Rise of Skywalker final trailer

First look: Star Wars: Rise of Skywalker final trailer

Here's your first look at Star Wars: Rise of Skywalker's final trailer

The film comes out in New Zealand on December 19.

CALL OF DUTY: MODERN WARFARE POST-LAUNCH APPROACH TO NEW CONTENT

CALL OF DUTY: MODERN WARFARE POST-LAUNCH APPROACH TO NEW CONTENT

Call of Duty: Modern Warfare is almost here. 

Ahead of launch, there is one more topic that many fans are interested to learn more about, the basics for the in-game economy in Modern Warfare. We are introducing a new Battle Pass system, not a loot box system. See the full blog post here.

All functional content that has an impact on game balance, such as base weapons and attachments, can be unlocked simply by playing the game.

The new Battle Pass system will allow players to see the content that they are earning or buying.  Battle Passes will launch timed to new, post-launch live seasons, so you can unlock cool new Modern Warfare-themed content that matches each season. With the new Battle Pass system, players will be able to earn COD Points by playing the game. 

There will be both a Free Stream and a Premium Stream of content in the Battle Pass System in Modern Warfare. New base weapons will be earned through gameplay, simply by playing Modern Warfare. Functional attachments for base weapons can be unlocked through gameplay as well just like in the game’s Beta.

The Battle Pass and the In-Game Store will feature a variety of cosmetic content that does not impact game balance.

Win a copy of SPIDER-MAN: FAR FROM HOME

Win a copy of SPIDER-MAN: FAR FROM HOME

To celebrate the release of Spider-Man: Far From Home, thanks to Sony Home Entertainment, you can win a copy on Blu Ray!

About Spider-Man Far From Home

Our friendly neighborhood Super Hero decides to join his best friends Ned, MJ, and the rest of the gang on a European vacation. 

However, Peter's plan to leave super heroics behind for a few weeks are quickly scrapped when he begrudgingly agrees to help Nick Fury uncover the mystery of several elemental creature attacks, creating havoc across the continent.

All you have to do is email your details and the word SPIDER-MAN!

Email now to  darrensworldofentertainment@gmail.com 
Or CLICK HERE NOW  

Win a copy of TOY STORY 4

Win a copy of TOY STORY 4

To celebrate the release of Toy Story 4 on DVD and Blu Ray, thanks to Sony Home Entertainment and Disney DVD, you can win a copy!

About Toy Story 4

Woody has always been confident about his place in the world, and that his priority is taking care of his kid, whether that’s Andy or Bonnie. 

So when Bonnie’s beloved new craft-project-turned-toy, Forky, declares himself as “trash” and not a toy, Woody takes it upon himself to show Forky why he should embrace being a toy.

But when Bonnie takes the whole gang on her family’s road trip excursion, Woody ends up on an unexpected detour that includes a reunion with his long-lost friend Bo Peep. 

After years of being on her own, Bo’s adventurous spirit and life on the road belie her delicate porcelain exterior. 

As Woody and Bo realize they’re worlds apart when it comes to life as a toy, they soon come to find that’s the least of their worries.


All you have to do is email your details and the word WOODY!

Email now to  darrensworldofentertainment@gmail.com 
Or CLICK HERE NOW  

Woman At War: DVD Review

Woman At War: DVD Review

Wrapped in the kind of visual quirks that you'll either embrace or run a mile screaming from, Woman At War is the story of an eco-terrorist who wreaks their havoc while being the least suspected person.

Halldóra Geirharðsdóttir is Halla, a woman who lives in warm jumpers and who is the bastion of her community. Cycling around from one event to the next, those who interact with her have little idea she is the eco-terrorist destroying pylons from around the countryside.

Armed with a bow and some ingenious ideology, Halla finds herself the centre of a growing hunt for the "Mountain Woman".

There is an oddity to Woman At War that makes the film an initially polarising one.

Early scenes show the band playing off the distance in the background for the film's soundtrack - or reflected in the mirror - and while it's a nice visual touch, it soon feels overplayed and overused as if to emphasise the film's quirk above all else.

Thankfully, the rest of the drama which transpires is a solid and entertaining fare that hits the right notes of humanity and tension throughout. There are crowd-pleasing moments, but never at the expense of the investment in Geirharðsdóttir's turns.

Ultimately, Woman at War is a film to be enjoyed, to bathe in its oddities and to appreciate its commitment to originality.

Crawl: DVD Review

Crawl: DVD Review

Sometimes, a film just simply does what it says on the tin.

Such it is with Crawl, an unabashed 87 minute B-movie creature feature that wastes no time simply setting up its premise, and then getting on with it.

Scodelario is a stoic and steely Haley, a swimming champion (fortuitous in later moments) whose fall from grace has coincided with her parents' splitting up. When a massive hurricane hits Florida, where she lives, she races to find her father (Pepper, grizzled and in a thankless role) as the flood waters begin to rise.

But trapped in their old house, the pair soon finds the biggest problem isn't the rising water - more what lies within in the form of gators, ready to snap...

There's very little to say about Crawl, other than it pits Haley, the former Apex predator in the pool, against the real life watery ways of the Florida marshes and flooded levees.

And it's, simply put, fine in places, stretched in others as it revels in its human vs immutable forces of nature edges.

Mixing Jaws and any other creature features is fine, but forcing the audience to believe their characters can display as much strength as they need to when they've been chomped is a bridge too far, and while the film's flaws don't divert they do distract from what's going on.

Keeping the watery shots to a minimum, and using the most of the space afforded to him, Aja mounts a reasonable case for tension, and delivers a few kills that will satiate some of the gorehounds in the audience. But a lack of a fuller cast makes Crawl's weaker moments stand out more as the walls close in.

It helps that Scodelario is watchable enough and has enough grit and compunction to keep the audience along for the ride, even when the script and the silliness starts to wobble.

It's not exactly a croc of a movie, but Crawl is a solid, if unspectacular, creature film that could have been shorter and as a result more taut. As it is, it's fine enough fare, and a weird counterpiece to Blake Lively's The Shallows

Zombieland: Double Tap: Film Review

Zombieland: Double Tap: Film Review

Cast: Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin, Zoey Deutch

Director: Ruben Fleischer

It may open with a self-effacing voiceover from the familiarly neurotic tones of Jesse Eisenberg, and acknowledge that pop culture has other alternatives for zombie entertainment, but Zombieland: Double Tap barely offers much of a reason to exist other than a nostalgia do-over a decade on.

Taking place a decade after the first proffered guilty pleasures, Double Tap focuses on the core four of the group, Columbus, Wichita, Tallahassee, and Little Rock as they continue to negotiate life in a post-apocalyptic world.

When Little Rock ups and leaves, tired of Tallahassee's fatherly yolk, and Wichita walks following Columbus' proposal, the boys are left brooding and directionless amid concerns a new super-zombie is on the rise.

However, they're both pulled into the search for Little Rock sooner than they'd think...

It's incumbent in some ways on a sequel to do something new and exciting.

Zombieland: Double Tap is more interested in repeating the vicarious highs of the first film sadly, than forging on with a new narrative. Ironically, it double dips on itself, rather than double tapping.

Sure, it deepens the nuclear family vibe of what's already occurred and extends the squabbling, but despite initially teasing the zombie elements as being key this time around, it jettisons them save for a finale action sequence that feels piecemeal and bolted on.

Thankfully, Zoey Deutch adds a lot to to the proceedings with her Legally Blonde / Cher from Clueless hybrid tracksuit clad Madison injecting much humour into the narrative which flounders for a reason to flourish other than to rehash insults and relive the tensions between Tallahassee and Columbus.

There are some inventive moments though, specifically a Graceland-set fight sequence that clearly comes from the mind of Deadpool's Rhett Reese, and which shows some flair and panache punching among the undead.

But Zombieland: Double Tap is less interested in making its putrid zombies interesting, and more concerned with referencing pop culture elements from the past decade that the original Zombieland missed or have sprung up during the intervening years.

From the Walking Dead to a Shaun of the Dead homage, this all feels like tired fare, a tale that's as decaying as the undead within.

Zombieland may have been a fresh as comedy horror, but Zombieland: Double Tap is sadly not. It's passable enough fare for a loaded night out, but stripped to its core, its raison d'etre is at best, shaky.

Yesterday: DVD Review

Yesterday: DVD Review

All the hallmarks of a Richard Curtis comedy are present in Danny Boyle's Yesterday.

A romantic quandary, a declaration of near love in the rain, a sense of detachment from the real world - it's all here in this crowd-pleasing piece that proves everyone's charming in Curtis' eyes.

Patel stars as frustrated musician Jack Malik, a pub singer whose original compositions do nothing for the audience, despite the continual support of Lily James' Ellie, his manager and would be lover (a shockingly shamefully underwritten character whose need for existence being tied to a man feels like something of a parallel world concept where MeToo never happened).

When Jack's hit by a bus during a 12 minute global power outage, he wakes up sans two front teeth, and to the fact the Beatles never existed. Much like coke and cigarettes. (The whys and wherefores of this are part of the script's weakness and Curtis' desire to thrust us deep into fantasy land at whatever cost).

So, seizing on their music, Malik launches his own big for stardom - meeting up with Ed Sheeran and impressing global audiences - but is he losing sight of what actually matters most?

Crowd-pleasing and cute may sound like damning terms for a pop-what-if-fairy-tale, but given Patel's innate likeability, Boyle's raw translation of the Beatles' music and the writer's couldn't give a damn attitude to logic, Yesterday feels like the latest jukebox musical to be hoist upon audiences who want easy fare.

A jaunt through Liverpool late in the piece, complete with postcard tourism neon letters, feels like a tourism cash-grab, a hollow celebrity map that skates the surface and exists solely to give you the sense of the feeling rather than the depth of the feeling.

But it's all done so pleasantly, and in a manner that lulls a crowd into enjoyment territory; there's a noticeable sag when the love part of this fairy tale tries to tug at you, however Patel's performance and charisma lift any lows up.

It's hard to dismiss a feeling that this is a way to sell us The Beatles once again, in much the same way Bohemian Rhapsody and Rocketman blast out all time favourites, and while the music's still timeless, Curtis' writing and Boyle's showing of why it's timeless simply falls into the show, not tell, category of a song being belted out.

It's not a fatal flaw for Yesterday by any stretch of the imagination, but Yesterday does feel like cinematic candy floss fluff, something that's so inherently determined to make you like it, it does little to hide its flaws. Or explain any of its logic - it's like at times a Comic Relief sketch writ large, and pushed through a Richard Curtis bingo set of tropes and ideas.

Thankfully Patel's charisma and relatability, complete with Boyle's visual energy, make Yesterday a crowd-pleaser whose saccharine touches don't totally overwhelm the audience - but they won't rightly win over the cynics, who will feel worn down by the lack of sense or sensibility.

Booksmart: DVD Review

Booksmart: DVD Review

Proving the girls can do it just as well as the boys (and even better), and staying remarkably fresh and vibrant from beginning to end pays great dividends for Olivia Wilde's Booksmart.

It's the story of Beanie Fedelstein's Molly and Kaitlyn Denver's Amy, two high school pals, who've nerded it up their entire time through high school to get to the colleges they wanted.

But upon discovering the lower achievers have also got into impressive colleges, Molly has a meltdown, fearing they've wasted their lives. So determined to cut loose at the end of year party, the duo decide tonight's the night.

However, the one big problem is they don't know where the party is....

It's tempting to categorise Booksmart as the female Superbad, but in truth, it's a lazy comparison.

Whereas McLovin et al set the tone for the genre, the one-last-blast-before-we-quit-high-school genre has been done to death.

Yet Booksmart, thanks to some impressive comedic performances, a zing of direction and a pumping soundtrack that boosts the energy levels throughout, barely falters at all.

Fresh without ever pandering, inventive without ever being cheap and just damn funny, the coming-of-age comedy gets the female touch - and even outdoes most of its competitors. (A drug trip is so excellently inventive, it genuinely surprises.)

Women leads that are relatable, people of colour and backgrounds all over the place and nary a male in sight makes Booksmart one of the genuine glass ceiling smashing comedies out there - without ever deliberately setting out to be "woke" or conform to a feminist agenda. It's in its own league, and as genuine to its protagonists and supporting characters as it should be.

Sure, there's the usual high school message about being true to yourself and suffering self-sabotaging, but thanks to its great leads' chemistry and comic timing, Booksmart is a whipsmart high school comedy that raises the bar substantially.

Backtrack Boys: DVD Review

Backtrack Boys: DVD Review

More gentle amble through troubled boys' lives and less about the dogs they're paired up with, director Catherine Scott's genial Backtrack Boys heads to Australia to talk second chances and maturity.

With an unfussy and unobtrusive camera, Scott follows the lives of boys in Aussie Bernie Shakeshaft's programme aimed at turning kids around as part of his residential programme.

It's tried and tested material admittedly - for every troubled kid, there's a familiar story to follow (the commonalities in these types of yarns is never earth-shattering), but what Scott does is to centre in on three boys, and make you care for them via simplicity of execution, and intimate portrayals.

Perpetual offender and youngster Russell, aka Rusty, is the wild card, a ready to bite, ready to fight, ready to run kid who's one incident away from jail; there's Zac, the teen who's like a big brother, but whose anger underneath his soft edges could destroy him and Tyson, the kid from jail, who's trying to go straight.

It's obviously heart-warming fare, and is intensely devastating when things don't go right as they should. While some may berate Scott for never really presenting the victims' side of the offending, her maturity in holding the boys upto account via their own interactions is commendable.

It's affecting admittedly, and gentle in many ways, but Backtrack Boys continues the lines set down by last year's Celia Lashlie doco, in that social interventions and people make the difference. These are not new conclusions, and there's an underlying sadness that these stories have to be repeatedly trotted out, but with sensitively handled fare such as this, maybe ultimately, the message will get through.

The Field Guide To Evil: DVD Review

The Field Guide To Evil: DVD Review

Anthology films are always a tricky bunch.

Usually mixed in tone, and with one segment standing out above all others, the films generally suffer from indifference which mars part of the rest of the viewing experience.

Sadly, The Field Guide To Evil also falls into that category - a wild mix of tones, with some repeated undercurrent themes, and some successful, some not so successful celluloid miniatures.

It's fair to say that The Field Guide To Evil will probably hit genre fans more than the average audience, but that's not to dismiss the film's desire to explore folklore which has helped seed roots in horror throughout the years.

It's easy to pick a superlative entrant into this octet of creepy folklore tales- it would be Peter Strickland's final segment, The Cobbler's Lot, which mixes fairytale myth, silent film aesthetics, some truly wonderful imagery and colour, and elements of The Cure / Radiohead's There There for its tale about two brothers smitten by the same woman.

It's a stylistically bravura end to a rollercoaster ride that does some things well, and others not as well. And it's also one that doesn't quite feel like you know what's coming next, something that hits others in the anthology.

Some of the tales end either abruptly or obtusely, with no real time to dwell on what's transpired or what it all means - though there's plenty of fodder for discussion afterwards.

Themes are interlaced throughout - with visuals like woods appearing in most, and even animals like goats appearing repeatedly. Interwoven are common themes like greed, avarice, sin, guilt, takes on post partum depression, and the supernatural. There's a lot to commend The Field Guide To Evil's scope and desire to cover the bases, but perhaps this crowd-funded flick should have settled on some and expanded them out more, chopping the chaff from the wheat.

Opener Die Trud has a totally intriguing start to proceedings, with the tale of forbidden love and consequence working well. And the segment Die Rote Maus involving a possessed creature leaving a body to kill at its host's well-being is stunningly evocative, cleverly promising more if it were to be expanded out.

Perhaps less successful is the comic Melonheads, which mixes cannabilism and coneheads to varying effect. Tonally, it stands out from the volume, but coming midway, there's an argument to say that this palette refresher has its own purpose.

Overall, the uneven edges to The Field Guide To Evil make it an anthology that promises potential and never quite manages to build on it.

That said, some of its standalone tales make a solid case for further development  - and the short storytelling element shouldn't be dismissed, with the global cast of directors doing much work with soundscapes to evoke feelings in such short spaces of time.

Asterix: The Secret of the Magic Potion: DVD Review

Asterix: The Secret of the Magic Potion: DVD Review

The Asterix the Gaul comic books have a kind of timeless innocence to them.

Largely predicated on the adventures of the Gaul and his large chum Obelix's fight against the marauding Romans, the comics follow a relatively tight narrative edge.

Chiefly, Asterix and his team face insurmountable odds and the use of the Magic Potion helps to save the day.

In this latest CGI animated outing, there's a sense of the timelessness on show again, which is both to the film's advantage and also to its detriment.

When druid Getafix injures himself collecting berries for the secret potion, he decides that it's time to appoint a successor to the magic ways and ensure the potion's mystery doesn't die with him.

So he packs up Asterix and Obelix into his quest - but before long, the Romans are taking advantage of their absence...

Asterix & The Secret of the Magic Potion is genial enough fare.

It gets by on its aforementioned timelessness and innocence more than anything. And while the animation's similar to the Peanuts movie, it's not startling enough to stand out as anything revolutionary.

That's not to detract from the film's overall desire to play it as family fare, which it does surprisingly well, but it does feel occasionally like some smarter edges could have been deployed for the benefit of the audience.

Voice work is solid enough, and the simple plot means the film skews younger than anything.

But in a day and age where animation is expected to deliver meta touches, to engage all ages, and to entertain in perpetuity, it may feel like it falls a little short. As a piece of family fare though, it can't be faulted, thanks to an energy of exuberance, an abundance of good will and an enthusiastic run-time which doesn't outstay its welcome.

Win a family pass to see Paw Patrol: Ready Race Rescue

Win a family pass to see Paw Patrol: Ready Race Rescue

To celebrate the release of Paw Patrol: Ready Race Rescue, and thanks to Paramount Pictures NZ, you can win a family pass!

About Paw Patrol: Ready Race Rescue

Our favourite pups are back and they’re ready to race!

The all new PAW PATROL: READY RACE RESCUE movie (produced by Spin Master Entertainment) hits cinemas OCTOBER 3!

It’s the ADVENTURE BAY 500! The pups have built an awesome race track and are ready to be the pit crew for their race hero, THE WHOOSH!  

But when the legendary racer is unable to drive in the CHAMPIONSHIP RACE, he calls on his biggest fan-pup MARSHALL to take the wheel and race in his place! 

Marshall has to overcome his lack of confidence and his dastardly competition, THE CHEETAH, to fulfill his dream of becoming the FASTEST race-pup EVER!  

Get ready to race and rescue!

Paw Patrol: Ready Race Rescue releases October 17

All you have to do is email your details and the word PAW PATROL!

Email now to  darrensworldofentertainment@gmail.com 
Or CLICK HERE NOW  

Ms Marvel Joins Marvel's Avengers

Ms Marvel Joins Marvel's Avengers

MS. MARVEL JOINS MARVEL’S AVENGERS

Marvel’s rising star Kamala Khan sets out to expose AIM and reassemble the Avengers

Today at New York Comic Con 2019, Square Enix® and Crystal Dynamics® revealed that fan-favourite Kamala Khan is the latest playable Super Hero to be featured in Marvel’s Avengers. Co-created by G. Willow Wilson, Adrian Alphona, Sana Amanat, and Stephen Wacker, in the comics, Kamala is an enthusiastic teenager who defends her hometown Jersey City as the costumed Ms. Marvel. First appearing in Captain Marvel #14 in August 2013, Kamala quickly captured the imagination of generations of True Believers, leading to her own monthly comic series in February 2014.

A self-avowed Avengers fan, in the game’s original story, Kamala Khan must apply her intellect, optimism, and unique abilities to the task of unravelling a global conspiracy and reassembling her personal heroes in time to stop a new secretive organization, Advanced Idea Mechanics (AIM), before they unleash one of the greatest threats Earth has ever faced.

Players first encounter a young Kamala during A-Day, where Captain America, Iron Man, Hulk, Black Widow, and Thor are unveiling a hi-tech Avengers Headquarters in San Francisco — including the reveal of their own helicarrier powered by an experimental energy source. The celebration turns deadly when a catastrophic accident results in massive devastation. Kamala is exposed to the mysterious Terrigen Mist, and finds herself developing extraordinary polymorphic powers, which she subsequently hides for years. Blamed for the tragedy, the Avengers disband. Five years later, with all Super Heroes outlawed and the world in peril, Kamala uncovers a shocking conspiracy and embarks on a quest to reassemble the heroes she believes in and to become the hero she was destined to be.

Players begin the journey as Kamala Khan and learn the origins of her extraordinary powers.

As the story expands, Kamala plays an essential role in bringing the disbanded Avengers back together. As each Super Hero is added to the roster, players must master all of their unique abilities, rebuild and customize the Avengers team to face increasingly growing threats only the Avengers together can defeat.

“An optimistic fan girl of the Avengers, Kamala Khan is the perfect character for the story we’re telling in Marvel’s Avengers,” said Shaun Escayg, Creative Director and Writer at Crystal Dynamics. “Telling our story of Kamala’s coming-of-age brings a fresh, hopeful perspective to the gameplay experience and her unique abilities as Ms. Marvel make her a character every person can relate to and will want to play. Kamala Khan is one of the unique characters that makes our game stand apart from any Avengers story experienced before.”

“Kamala is an inspired and perfectly fitting choice to join the ranks of, and reassemble, Earth’s Mightiest Heroes,” said Bill Rosemann, VP of Creative at Marvel Games. “Perhaps more than any other character invented over the past decade, Ms. Marvel has not only charmed the hearts of long-time True Believers, but her unique mix of classic Marvel heroic elements and modern cultural relevancy has resulted in a headline-generating cultural icon.”

“It is a thrill to see Kamala in the Marvel’s Avengers game,” said Sana Amanat, VP of Content and Character Development at Marvel. “Crystal Dynamics has done a marvellous job of crafting a brand-new take on Kamala, while staying true to the spirit of her inspiring character, charismatic persona, and relatable purpose. Fans of the character are in for quite a ride, along with a few surprises, when Marvel’s Avengers makes its debut next year.”

"I think Kamala is a perfect fit for a game like this, since she sees the Marvel world the same way we do as fans and players," said G. Willow Wilson, co-creator of Ms. Marvel. "Kamala allows us to imagine what we ourselves would do if we suddenly discovered we had superpowers and got to stand alongside our heroes in their time of greatest need."

Marvel’s Avengers will release simultaneously for the PlayStation®4 computer entertainment system, the Xbox One family of devices including Xbox One X, Stadia, and PC on May 15, 2020.

DOOM Eternal | Release date update

DOOM Eternal | Release date update

Throughout the development of DOOM Eternal, our goal has been to deliver a game that exceeds your greatest expectations across the board.  

To make sure we’re delivering the best experience -- for DOOM Eternal to live up to our standards of speed and polish -- we’ve made the decision to extend our launch date by a few months to March 20, 2020.  We know many fans will be disappointed by this delay, but we are confident that DOOM Eternal will deliver a gaming experience that is worth the wait.

In addition to shifting the DOOM Eternal launch date, we’ve made a couple of other changes we wanted you to know about:

• Invasion Mode, which will allow you to enter another player’s game as a playable demon, will release as a free update shortly after launch.
• DOOM Eternal for Nintendo Switch will release after the other platforms. We will announce that date in the future.
• DOOM 64 will be available on Xbox One, PlayStation 4 and PC in addition to Nintendo Switch. We are adding DOOM 64 as a pre-order bonus for DOOM Eternal so you’ll be able to download and play this classic game, for free, on all platforms, just for pre-ordering DOOM Eternal. DOOM 64 will be released on March 20, 2020 on all platforms.

We are grateful to every DOOM fan for your dedication and support - we can’t wait to rip-and-tear right alongside you.

NBA 2K20 - MyTEAM Unlimited Tournament

NBA 2K20 - MyTEAM Unlimited Tournament

2K Confirms Details for NBA 2K20 MyTEAM Unlimited $250,000 Tournament

Qualification is underway in the 2^nd edition of the popular contest

2K has officially confirmed details for NBA 2K20’s MyTEAM Unlimited $250,000 Tournament. The 2^nd year global competition is played using the MyTEAM Unlimited mode on Xbox One or PlayStation 4, with contestants choosing any 13 player cards from their deck and competing in 5-on-5, head-to-head games with NBA rules. Qualifying is ongoing until January, when 16 qualifiers per console will compete in a single elimination tournament for a trip to NBA All-Star 2020 and the $250,000 grand prize.

The winner of last season’s NBA 2K19 tournament, Xbox One champion Dymaris Jones (SkippTooMyLou) from Detroit, defeated PS4 champion and current NBA 2K League player Christopher Anderson (TurnUpDefense) from Las Vegas to win the grand prize during NBA All-Star 2019 in Charlotte. More than one million players took part in last year’s inaugural tournament, which saw more than 15 million qualifying games played over the five-month contest.

Similar to last season’s tournament, Xbox One and PS4 contestants will play games in MyTEAM Unlimited mode to earn entry into Qualifier GameDays. Ten Unlimited wins are required to participate in each GameDay, and contestants may compete in multiple GameDays. During each GameDay, contestants will then compete to win as many games as possible during the four-hour time limit, earning points towards their Total Score with each win. The contestants with the top four scores on each console at the end of each GameDay will qualify for the single elimination tournament. 

The dates of the four Qualifier GameDays are as follows:

●        First Qualifier GameDay: October 12, 2019

●        Second Qualifier GameDay: November 16, 2019

●        Third Qualifier GameDay: December 14, 2019

●        Fourth Qualifier GameDay: January 18, 2020

The single elimination tournament begins January 25, with 32 qualifiers playing until only one contestant remains on each console. Both console champions will win a trip to NBA All-Star 2020 in Chicago, where they’ll attend NBA All-Star events and play a head-to-head, best-of-three series on Xbox One for the $250,000 grand prize.