Dreams: PS4 Review

Dreams: PS4 Review

Developed by Media Molecule - and the entire world
Published by Sony Interactive Entertainment

There was a game in the late 1980s that opened up the idea of game development to the public.

Initially released in 1987 for the Commodore 64 and Amiga consoles, the Shoot'Em Up Construction Kit worked on an MO which offered the elements to gamers to create their own shoot'em ups. A simple concept, and one bound only by system limitations of the time, the versatility on show show it embraced by the hoi polloi.

So it is with Little Big Planet and Tearaway creators Media Molecule.

Dreams, which appears to have been in BETA testing for a long while, is now on general sale, and is currently being mined by the Dreamiverse community to create, make and share.

The community's seized on the opportunity already - and remakes of the likes of Sonic through to arcade classics such as Arkanoid and Marble Madness already exist. But here's the thing with Dreams - in some ways, it's like fan fiction writ large and within the gaming sector. There's nothing wrong with using the tools to recreate the greatness of the past, and in many ways, it's a nostalgia-fest for those determined to seek it out.

But while it may enable a new generation of game devs, it will also prove to be a gaming boon for those looking to satiate a variety of genres.

And yet, so far, with the exception of what Media Molecule has created themselves, and bar a smattering of other users, most people seem to be playing inside their own sandbox, and recreating games of their youth.

It's no bad thing if you're a nostalgia addict, but it does make one wonder what the deal is with copyright and how Media Molecule is protected from it.

However, the interfaces for Dreams are, for the most part,easy to access and use - a floating sprite is used to scroll between games, search and play/ possess characters.

Creation is a lot tougher though, and while the use of the touchpad and a floating sprite seem relatively easy to negotiate for the games, it's in the making that a few niggly problems emerge.

The game presents creation as a series of mini games to "achieve" and while the premise of them seems fairly simple, some of the technical aspects of the moving and positioning is difficult at best, and takes perseverance to get through.



However, when it does come together, it's rewarding - and does really show that even if there are creators who are uploading Sonic levels, or recreating Arkanoids, the patience and skill is more than commendable.

Ultimately, Dreams will thrive on its community.

Media Molecule may have empowered many, and while they currently have yet to see a return on the potential, there's a chance that with all out involvement, this could be a hub for the future - as long as you're visionary.

It rewards patience, and given the breadth of what it's covering -from games to visual experiences - it's highly worth having. But as ever with any creative tools, how ever much you get out, will depend greatly on what you're willing to put in.

The Way Back: Film Review

The Way Back: Film Review

Cast: Ben Affleck, Janina Gavankar, Al Madrigal
Director: Gavin O'Connor

In many ways, The Way Back is a film you've seen before.

One of a broken sports person and alcoholic, not searching for redemption, who's offered the chance to get back in the game and tackle their own personal demons at the time.

But The Way Back suffers from the delicious irony that its central star has battled with these very demons and has slowly fought his way back.

Affleck is Jack Cunningham, a former high school basketball star, who's asked to coach the local team - for no real reason other than they're tanking and he was their next big thing. Initially reticent, the separated Cunningham takes on the mantle and begins his journey back.

Dour and rightfully downbeat, The Way Back sees Affleck reteaming with his The Accountant director to create the sort of sports underdog film that is all too rote and all too familiar. And yet, with a relative career best from Affleck, the film's certainly got some redeeming features.

Sequences wondering if Jack will hit the booze again may ooze familiarity, but tempered with scenes where Jack goes through a 30 pack of beer in one night, with a routine of picking one out of the freezer, returning a fresh one in there ready feeling raw and tempered with the kind of veracity Hollywood rarely siphons for films about alcoholics. There's no doubt Affleck brings a lot of himself to the role, and it wouldn't work without him.

And it's in the central relationships the film rises too - a needling sister who's only doing it out of love, and a coach and head coach relationship that's tinged with respect, admiration and awareness of failing.

Certainly, in the rest of the film, there are a few narrative jumps too many.

The team gets better somehow without any real conviction why, Jack decides to coach them without any real reason why he changes his mind so suddenly - these are the beats which feel off in The Way Back, and which ground the tale of a redemptive blue collar worker with moments that see you more questioning why and lifting you out of the moment.

In the final furlong, the film lapses into lamentable melodrama, and the maudlin elements threaten to topple Affleck's good work, rather than build on it; ending on mawkishness and a message of hope may be central to The Way Back's MO, but unfortunately, it leaves this final drink of drama stinging in your throat.

Downhill: Film Review

Downhill: Film Review

Cast: Will Ferrell, Julia Louis-Dreyfus, Miranda Otto, Zach Woods
Director: Nat Faxon, Jim Rash

Ruben Östlund's 2014 movie Force Majeure was beloved by many.

A film that excoriated a marriage, threw up questions of male ego and dialled up the discomfort, the near 3 hour movie was lauded as a masterpiece.

It seems unlikely Downhill, which is inspired by the film, and follows many of the beats but in half the time, will be mentioned in the same breath.

Ferrell and Louis-Dreyfus are Pete and Billie, parents of two, all together on a skiing holiday. However, there are already frustrations inherent among them, with Billie's generally uptight nature clashing with Pete's insistence on being in the moment above all else.

When a controlled avalanche nearly overwhelms the family at a restaurant, Billie is left with the fall-out of the fact Pete grabs his phone and runs off, leaving her and the kids to ostensibly die. As the chasm grows, the family will never be the same again.

Downhill has a tonal mismatch which doesn't help matters.

While Force Majeure dabbled in subtlety (although admittedly took a long time going anywhere), Downhill's halved run time and desire to inject broad bawdy elements within its story means it adds up to feeling like a mix between cringe-worthy comedy and flat moments that simply don't add up.

And yet with Louis-Dreyfus turning in a performance that's somehow excellent beyond the material, Downhill's watchable enough fare - albeit muddled. Icy, muted laughs come as the cordial atmosphere dries up immediately, and the excruciating irritations boil over. Ferrell's downbeat, but his restrained performance doesn't match up to the needs of the film, and he feels at times, out of place.

It's the Euro-stereotypes that flunder the film, with Otto's amusing-to-watch laissez-faire hotel owner ramping it up to 11 and a ski instructor hunk feeling ripped from the pages of another movie. It's these moments that give Downhill a level of inconsistency that's hard to match.

Ultimately, feeling muddled and muddying the waters, Downhill does offer some good moments of comedy if you know where to look. But were it not for Julia Louis-Dreyfus' performance, this film would be more of a downhill experience that its name suggests.

Frozen II: Blu Ray Review

Frozen II: Blu Ray Review

How do you solve a problem like Frozen 2?

The first film was such a mega hit, and resolved all of its issues, that making a sequel complete with earworm songs like Let It Go was always going to be a fool's game.

But six years on from when Frozen melted our collective cinema-going hearts, Elsa and Anna return to life in Arendelle.

In this latest, Elsa (Menzel) finds herself lost, compelled to answer a song she keeps hearing from an ancient forest in an enchanted land she remembers from her childhood...

So the gang ventures into the woods to save their kingdom and Elsa's soul.

More emotionally resonant and darker than the first film, Frozen II offers vicarious delights that may well be lost on some of the younger end of the audience.

Yet, both Lee and Buck may well be banking on the fact their initial audience has grown up more and is more willing to tackle the darker themes of maturity and what life's about - and yet they're still willing to throw in Olaf goofing around to keep the younger ones entertained, and to show Elsa busting out superpowers like an animated Captain Marvel.

The film this time throws up some truly gorgeous animation, some scenes which technically excel - from a dancing darting water horse to an almost electric light-led power ballad from Menzel (Into The Unknown, one of the film's best), the animators aren't keen to rest on their laurels, even if some
of it may be lost on their audience.

While the songs have more of a Broadway feel this time, and are less interested in becoming the stuff of nightmares on car journeys, it's fair to note they're not as instantly memorable, even if they are enjoyably presented onscreen.

The film skirts with plenty of themes; it builds on the sisterhood from the first's subversion of true love, dabbles with climate change, and touches on colonialism.

However, its biggest disappointment is with the flirtation with giving Elsa a girlfriend - her only solid interaction outside of the core group is with a native female from within the enchanted forest, and there are hints of more. But it's frustratingly left on the vine, and only for the subtleties to be picked up on.

Ultimately Frozen II may leave those expecting a redo of the first a little cold. But for those wanting something more epic, something that moves on from the whimsicality of the first, Frozen II more than meets the expectation and delivers.

Win a copy of Frozen II

Win a copy of Frozen II

To celebrate the release of Frozen II on DVD and Blu Ray, you can win a copy thanks to Sony Home Entertainment.

About Frozen II

Anna, Elsa, Kristoff, Olaf and Sven leave Arendelle to travel to an ancient, autumn-bound forest of an enchanted land. They set out to find the origin of Elsa's powers in order to save their kingdom.

To win all you have to do is send your name and address and the keyword FROZEN 2 to me

Email now to  darrensworldofentertainment@gmail.com 

Or CLICK HERE NOW  
COMPETITION CLOSES 10TH MARCH

Win a copy of Charlie's Angels on Blu Ray

Win a copy of Charlie's Angels on Blu Ray

To celebrate the release of Charlie's Angels on home entertainment, you can win a copy of Charlie's Angels on Blu Ray.

About Charlie's Angels

Charlie's Angels

When a young systems engineer blows the whistle on a dangerous technology, Charlie's Angels are called into action, putting their lives on the line to protect us all.

Starring Kristen Stewart, Ella Balinska and Naomi Scott and directed by Elizabeth Banks.


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

Email now to  darrensworldofentertainment@gmail.com 
Or CLICK HERE NOW  
COMPETITION CLOSES 10TH MARCH

Bellbird: DVD Review

Bellbird: DVD Review

Hamish Bennett's follow up to his award-winning short Ross and Beth from 2014 is a crowd-pleasing, quietly restrained film about life on a Northland farm.

Marshall Napier is Ross, the third generation farm owner, who's left devastated after a loss and who tries to find what's next in his life. Recently returned to his life is his son Bruce (a dramatic and poignant turn from Cohen Holloway, who shines throughout), who works in the local dump but who's gradually coaxed back onto the farm and into family life in general.

Bucolic and beautifully shot, Bennett's film is a small restrained movie about relationships and reconnections, that taps into the rural way of few words.

If Bennett overdoes it with the cutaway shots which depict life on the farm, it's seemingly about building an atmosphere and a sense of location within Northland that goes to explain Ross' connection to the land and his community.

Suffused with charm, and lovely wry one-liners (particularly from Rachel House), Bellbird has a heart that's hard to deny, as it negotiates grief in a typical she'll be right mentality.

Its leads are where the film's strength are, and Napier deserves as much credit as Holloway, for bringing to life a Kiwi type that's prevalent in the community. In truth, it's more about what's unsaid than said as this slow-paced family drama unfolds, but Bennett's wise enough to pepper his script with heartland humour that will prove a winner with audiences.

Newcomer Kahukura Retimana also deserves mention for neighbouring Marley who injects a level of care into how he tries to look after Ross; there's much of the film which speaks to how communities try to care for their own, something city dwellers may ruefully gaze upon as they view this low-key relationship piece.

Ultimately Bellbird wins by its gentle restraint, and its affectionate celebration of the quieter moments of life, and of what comes next when the worst happens.