Win a double pass to see BILL & TED FACE THE MUSIC

To celebrate the release of Bill & Ted Face The Music in cinemas from September 3, thanks to Madman NZ, you can win one of three double passes!

About Bill & Ted Face The Music

Once told they'd save the universe during a time-traveling adventure, 2 would-be rockers from San Dimas, California find themselves as middle-aged dads still trying to crank out a hit song and fulfill their destiny.

Starring Keanu Reeves and Alex Winter

BILL AND TED FACE THE MUSIC is in cinemas September 3

Thanks to Madman NZ, you can win 1 of 3 double passes!

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

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

Competition closes September 3.

Mortal Shell: PS4 Review

Developed by Cold Symmetry

Released by PlayStack

Platform: PS4

There's no denying many are saying Mortal Shell has the hallmarks of a From Software release.

From the punishing brutality to the gore on display, the game certainly comes swinging from the get go.

And while it requires patience for its combat, it also needs time for its story to unfold.

When the game begins, you're essentially a wraith-like skeleton with skin on, a wafting soul with no real clue where you are, what you must do. But you're thrust straight into a series of combat pieces, aimed at getting you au fait with the basics. 

And to be fair, the basics are simple enough - the usual thrust and parry. It's familiar stuff to those who've been through a Bloodborne, a Dark Souls or, to be frank, any kind of combat game.

But Mortal Shell has one difference in combat - the chance to harden your wraith form to shield from a series of attacks. Pressing the L2 button sees you solidify, a chance to break your enemy's combat and gain an advantage.

Another difference is the title allows you to possess dead bodies - the Mortal Shells of the title. Possessing those will allow you to be involved in combat and to get a second chance. If you're killed in the shell, you're kicked out and can repossess but you have to be quick. The developers have tinkered with expectations for the game and delivered something a bit different and with an edge to what's gone before.

The atmosphere and gothic edges work very well, and complete with a minimal soundscape, which works best through headphones and alone in the dark, the game hits some visual and sonic heights.

However, negotiating your way around is a bit less enlightening, and with small fonts, long loading screens, a confused feeling map and many landscapes feeling very similar, Mortal Shell loses some of the initial advantage it has.

Mortal Shell may feel like a homage to what's been done before in this arena, but Cold Symmetry does revel in the fact it does it so well. 

Maybe it's a case of wraith-and-see (sorry) as to what they will do next , but for now Mortal Shell, with its short run time and familiar feel, is a solid and entertaining enough outing from a new talent emerging on the scene - and a sign that even if it is a shell of another style of game, it's still a top-notch one.

Ford vs Ferrari: Neon Movie Review

Logan director James Mangold's biographical picture Ford v Ferrari draws deep from the well of great racing sequences, but fares less well off the track.

In fact, were it not for Bale's somewhat quirky character efforts, a lot of Ford v Ferrari would feel like a token underdog sports pic that doesn't quite hit some of the early promise.

For those uninitiated with the times, Ford v Ferrari is the story of US visionary designer Carroll Shelby (Damon, in broad US accent and all American apple pie approach) and his quest to get the flailing Ford motor company to be part of the legendary Le Mans race in the mid 1960s.

Fuelled by constant mockery from Enzo Ferrari, Shelby enlists unconventional UK racing car driver Ken Miles (Bale, possessing a Northern English accent and some "hey-up" mannerisms with ease) to design a new vehicle. However, Miles is not the kind of driver the Ford higher ups want - but he is the one they need to secure victory.

Ford v Ferrari is a technically adept film, but an emotionally rote and hollow one.

Its last hour is where the film excels, shifting into high gear and engaging the ethos of sticking it to Le Mans pushing you right to the edge of your seat. Mangold makes the racing come alive, delivers moments that genuinely thrill and still push you out of your comfort zone even if you know the result, thanks to pacing, humour and Bale.

But the journey to the final strait is a long one, laced with unevenness as the script veers all over the place.

The film initially begins with Jon Bernthal's marketing executive Lee Iacocca, before he disappears into the rear view mirror and becomes nothing more than a speechless supporting player.

The film's subterfuge of politics and marketing shenanigans are front and centre early on, before once again trailing off.

Equally, Outlander's Caitriona Balfe's Mollie Miles, Miles' wife, circles proceedings before settling for a more thankless supporting wife position, way back on the grid.

The film's never more content than when it's dealing with its two leading men, and in fairness, it's never more than dazzling when it's centred on Bale's Miles and his elements of unpredictability.

Hurtling around tracks, mocking the man and proving once again that those on the ground know better than those in the boardroom, Miles is an electrifying character that's brought vividly to life by Bale. Without him, parts of this 150 minute film would flounder in their wake.

Ultimately, Ford v Ferrari is a solid examination of two men's motoring obsession.

It may fail the women of the period massively, but it does present a film of faith, an examination of passion and a penchant for horse power when it needs to. Its ending should be commended (though it may be vilified on NZ soil for some reasons involving McLaren)for its downbeat nature, but its underdog tale gives it a solid placing on the track, but not quite in the pole position it should be. 

Loading Docs: Table for One

Table for One 

Against all odds, an ageing table tennis icon sacrifices it all for one last shot at Olympic greatness.

In her final bid for gold, New Zealand’s Chunli Li, faces the lonely road of isolation and self-funding in sport, unveiling the reality of her tireless commitment to win. 

Joining her after-hours reveals an intimate glimpse into the true sacrifice of a sporting legend whose hopes of achieving her lifelong goal begin to fade.

Director: Jenny Gao | Producer: Mia Maramara

Loading Docs: Going Home

Going Home 

To celebrate the adventurous life of her late Uncle Clive, she takes a leap of faith and learns to fly.

A decade after his death, Ashley takes off on an emotional journey of reconnection. Following in her Uncle’s larger-than-life footsteps, she wants to do one of the things he loved most, fly like a bird. Can his memory instill Ashley with the courage she needs to reignite her zest for life, and understand his?

Director: Ashley Williams | Producer: Ruth Korver

New trailer for Wonder Woman 84 arrives

As part of the DC FanDome, a brand new look at the Gal Gadot starring Wonder Woman 84 has dropped.

Watch the new trailer for Wonder Woman 84 below.

The new era of Wonder Woman begins here. #WW84 only in theaters. pic.twitter.com/RhTcHSGDti

— Wonder Woman 1984 (@WonderWomanFilm) August 22, 2020

First trailer for the Snyder Cut of the Justice League

The first trailer for Zack Snyder's cut of the Justice League has arrived.

As part of the DC Fan Dome, the trailer was unveiled.

Take a look below

Justice League will be released on HBO Max in 2021.

He’s never fought us. Not us united. #TheSnyderCut. Coming 2021. Only on @HBOMax. pic.twitter.com/gkFu5d4T4H

— The Director's Cut of Justice League (@snydercut) August 22, 2020