Spider-Man: Homecoming – Spoiler free review

Spider-Man slings himself back onto the big screen with an infectious style and excitability. Tom Holland is the perfect fit for both the role of Spider-Man and Peter Parker. 

The movie never feels like it’s going over old, well trodden ground which is testament to the strong writing and fluid plot. 

The opening scenes add a sympathetic element to the antagonist, Vulture, and believable motivations. As the plot unfolds the stakes heighten between him and Spider-Man in interesting and surprising ways. Although, his somewhat flippant descent into being comfortable with killing felt slightly jarring.

Peter Parker’s sidekick Ned provides an extra comedic layer to the film. Their friendship helps to keep things moving during the high school scenes which never descend into the realms of boring. However many scenes are stolen by Zendaya’s character Michelle, who is excellent throughout.

The action scenes are well choreographed, although the climactic battle does get a little hard to follow at certain points. Michael Giaccino provides his usual blend of subtle and bombastic for the movie’s soundtrack.

The romantic element with Liz didn’t quite stick, feeling somewhat contrived from the outset. However, it did manage to add an extra dynamic to the climax.

Spider-Man: Homecoming is an effective reintroduction to a character whom we are well acquainted with both cinematically and in his comic book origins. The movie does an excellent job of reinvigorating Spider-Man and breathing new life into the MCU.

Sony stutters as greatness remains on the horizon.

Coming into E3 2017 gamers questioned whether Sony could deliver another year of dreams. In the past two years we’ve seen them announce Final Fantasy VII Remake, The Last of Us Part II, Crash Bandicoot Remake and Hideo Kojima’s Death Stranding. The answer was no.

This year was a return to a more predictable line up. In a similar vein to Microsoft, Sony presented a solid line up of titles during a sleek and uninterrupted conference with only Shaun Layden taking to the stage.

Layden was keen to make himself scarce as he emphasised the importance of focusing on games. God of War’s cocktail of story and combat looks stunning, Days Gone enjoyed a more effective showing this year than last and Detroit: Become Human’s versatile narrative gameplay is shaping up nicely. However, the latter two titles remain without a release window.

There was a lack of concrete release dates which plagued Sony’s offerings. Shadow of the Colossus is getting a remake and Monster Hunter World was also announced, both with a 2018 release window. Sony also offered up several VR experiences in Skyrim, Final Fantasy XV, Bravo Team, Superhot VR and Starchild. Supermassive Games revealed a prequel to their 2015 sleeper hit Until Dawn with The Inpatient coming to PSVR sometime in the future.

We had to look to Sony’s pre-conference stream show for some offerings releasing this year. Highly anticipated Ni No Kuni 2 is releasing November 7th, Knack 2 is arriving in September and Gran Turismo Sport is coming this fall. Sony has once again left the path clear for 3rd party titles during the holiday season like Destiny 2 and Call of Duty: World War II, both announced to be featuring exclusive content on Playstation 4.

This represents a strategy which Sony may at first have inadvertently stumbled upon. Both Uncharted 4 and Horizon: Zero Dawn missed their holiday season release dates in 2015 and 2016, releasing early in the following year. This allowed Sony to release high quality titles throughout the year, whilst having exclusive content deals with big 3rd party titles makes Playstation 4 the enticing platform to buy them on. Both of the aforementioned titles had their big DLC story updates shown during the conference, with Uncharted: Lost Legacy arriving August 22nd. It seems Sony are going to continue with this effective formula, though it certainly damaged the impact of their press conference showing this year.

Sony closed with a mesmerising demonstration of their exclusive Spiderman title from Insomniac. With flawless transitions from cut scenes to gameplay, grand set pieces and a sleek design the game looks like it could be a special title. The only let down wasn’t the Quick Time Events that cropped up during combat, but that this title is also lined up for a 2018 release window.

2018 is going to be an impossibly busy year for video games if Sony hits these release windows, that’s without even mentioning 3rd party titles like Far Cry 5 and Red Dead Redemption slated to release early next year. This conference lacked surprises and titles releasing this fall, but the style of the presentation and the sustained stream of trailers dropping made for an impressive watch.

Just as they hung zombies from the convention centre rafters, Sony dangled several carrots in front of us, however, greatness must remain awaiting for Playstation 4 owners a little while longer.

Microsoft’s hype train is derailed by the Xbox One X

Prior to E3 much of the hype surrounded Project Scorpio. Would this be Microsoft’s big come back, or another terra-flop? Head of Xbox, Phil Spencer, wasted no time in unveiling the latest addition to the Xbox One family: Xbox One X.

Priced at $499 and releasing on November 7th the Xbox One X was confirmed to be Microsoft’s answer to Sony’s PS4 Pro, and it’s more than a match for its competition. Its specs comprehensively crush Sony’s premium console offering. However, given the hype, it’s hard to ignore the feeling that the Xbox One X announcement detracted from what was otherwise a solid press conference from Microsoft.

Spencer announced that they would be showing over 40 games during their press conference, with 20 Xbox One exclusive games. It’s important to note that this conference continued the E3 trend of playing fast and loose with the definition of ‘exclusive’, many of the titles shown were ‘Console Launch Exclusive’ titles rather than outright exclusives.

After a lengthy presentation of Forza Motorsport 7, which looked phenomenal, we got our first official glimpse of Assassin’s Creed Origins. Metro: Exodus blended a tense trailer with a remix of ‘In the House, In a Heartbeat’ (the song you remember from 28 Days Later) to whet the appetite and the refreshing visual upgrade coming to Minecraft was a pleasant surprise. The announcements were slick; the trailers relentless.

We were treated to a plethora of titles which will do a solid job of padding out the Xbox One catalogue. Titles like The Last Night and The Artful Escape were the most stylish offerings from ID@Xbox Games. Ori and the Blind Forest’s sequel was announced and Full Bright’s Tacoma is heading for an August 2nd release date on PC and Xbox One. Although, nothing quite enriches the Xbox One catalogue like the big reveal of backwards compatibility with original Xbox games. It’s a wonderfully diverse offering. Closing the show with Bioware’s beautiful new IP Anthem was almost perfect. However, it needed to be an Xbox exclusive. Microsoft needed that mic-drop moment to capitalise on the momentum they’ve built over the past year. With so much hype surrounding the Xbox One X, that expectation corroded the impact of Microsoft’s show reel.

There remains a dearth of exclusive Xbox games which will entice gamers into returning to the Xbox ecosystem. There was no Bloodborne, Uncharted, Persona, Last of Us or Horizon equivalent. The titles announced look fun, some of them look innovative, but none of them are enough to entice gamers into investing in the Xbox ecosystem. Most of the games are mid-tier games which ordinarily would have made for a good showing from Xbox, but they needed more. If these titles were padding out the existing catalogue without the promise of the “most powerful games console ever” then this conference would have gone down as one of their best showings in years. No console exclusive announced, be it ‘console launch exclusive’ or ‘outright exclusive’ (please stop bastardising the word guys), was a console selling title.

That is where Microsoft is right now, they will be compared unfavourably to Sony on exclusives and nothing announced at the conference stands up as a console exclusive. Microsoft’s new console crushes its opposition in terms of specs, but it’s exposed without upcoming quality content of the aforementioned Sony exclusives. It’s not about ‘winning’ but rather offering a reason to play on Xbox. Timed exclusives are not enough. As it stands, Crackdown 3 and Super Lucky’s Tale will be the two games launching with the Xbox One X and, given the hype, there needed to be more.

Microsoft put together a good conference, however, they remain hampered by the false start which has plagued them this generation. The hype train they unleashed last year with their Project Scorpio announcement derailed what would have been an effective showcase. None of the exclusive offerings were emphatic enough to showcase the strength of the Xbox One X. Had those games been announced for a stable Xbox ecosystem things would look much more positive.

It’s testament to how bad the initial Xbox One release was that the presence and unveiling of the world’s most powerful games console could be seen to be detrimental, but what Xbox needs right now is games, diverse, unique and exclusive games. Whilst their conference provided a quantity of those, it didn’t manage to provide a quality exclusive title required for Xbox One X’s unveiling.

Playstation VR – Review (December 2016)

Virtual Reality is a new way to play. Playstation VR is an enthralling insight into the potential offered by virtual reality as a platform, not just for video games, but for visual experiences. Putting the PSVR headset on for the first time mind blowing and in each venture after the wonder remains as each game provides something different.

Competitively priced at £350, the PSVR headset provides the best value for money on the market, particularly if you already own a Playstation 4. The adaptation of the Playstation Camera and Move controllers is a clever reinvention of peripherals which were once defunct but are now essential to the PSVR experience. The only downside is the extra financial cost of purchasing these items, over £100 in total, though many PS4 bundles were sold with a camera and move controllers are not required for every game.

Playstation VR offers a modest selection of launch titles which are geared towards a steady introduction to Virtual Reality. The headset comes with a demo disc which showcases snippets of many of the thirty titles available at launch. Batman Arkham VR is the most enticing of the launch titles. For £20 you can be the caped crusader. However, Playstation VR Worlds provides the best value for money with five varying experiences, from the spectacle of Ocean Dive to the cockney caricatures of London Heist, for £30. The feeling when your body reacts, thinking it’s descending through your living room floor as jellyfish float by is surreal, both first hand and watching someone else experience it.

The headset itself is easy to adjust and to apply. The strap which attaches the unit to your head is adjustable, as is the visor which immerses you in the game. This offers maximum comfort, whilst also taking into account if the user wears glasses, allowing the visor to be adjusted for best visual fidelity. One downside is the wires required to use the headset. They can get in the way, however, once you have set up the bundle a couple of times things to become easier. Motion sickness is something I have yet to encounter, but movement does still require perfecting. Some games move at a pedestrian pace, others use warping instead of walking; it simply depends on the game.

This hardware is not for those who buy consoles for the yearly release of FIFA and Call of Duty. That the headset allows you to play your PS4 titles on a giant virtual screen is an additional bonus, however, that is not the full immersive experience that VR was created for. With Star Wars Battlefront: X-Wing VR mission soon to be released and Final Fantasy XV providing a unique VR chapter, there should be plenty of options to keep players tiding over until the first triple-A release; Resident Evil VII.

Playsation VR offers an exciting new way to play video games. If you don’t want to buy it, at least find a way to try it.

Are Video Games art?

Video Games have never been so popular. There are a plethora of platforms which make gaming almost impossible to avoid. Nearly 50million PlayStation 4 units have been sold since releasing 3 years ago, Xbox One has impressive sales figures of over 30million and Nintendo have announced their new console-come-handheld device; the Nintendo Switch. This is, of course, without mentioning mobile phones, Virtual Reality or the juggernaut that is PC gaming. While the video game medium evolves, one question continues to plague video game discourse: are video games art?

Perhaps the question was born from a need for video game culture to be validated in the mainstream. However, the line between the popular mainstream and geeky subcultures is eroding. The term ‘Gamer’ is a disappearing. There now exists a generation of people who grew up with video games. There is no such thing as a ‘Movie-goer’ or a ‘Tv-Watcher’, people simply enjoy these hobbies in everyday life and video games have reached that level. Much of the debate surrounding video games’ artistic value originates from people who are alien to the medium. Roger Ebert, the late film critic, denounced video games as an art form back in 2010 and the debate still rears its head in the media intermittently.

What is important, is that the medium of video games is a platform for artistic expression. Video Games no longer linger in the shadow of movies or television. They can fuse an array of arts like composing, acting, performance, storytelling and cinematography, whilst providing a level of interaction unique to gaming. The successful marriage of these components allow creators to realise their vision in myriad ways. Developers have never had the level of artistic freedom open to them which they have now.

Developers at Naughty Dog are some of the best at making the most of that artistic freedom. Their game, The Last of Us, follows lead characters Joel and Ellie’s trip across America in a post-apocalyptic America after a fungal virus has infected the majority of humanity. The game’s emotional narrative is one of the most resonant in gaming history. The game explores the human condition through emotive themes, with excellent acting and a haunting soundtrack. Unique to gaming, however, the gameplay allows the player to interact with the environment to experience more of the narrative if they choose too. One of the more intimate scenes initiated shows Ellie playing football with Sam in a brief moment of respite for two children in an otherwise unforgiving world. Ellie, a girl born into this desolate world where food is scarce, also remarks upon how skinny a model is in a player prompted conversation in front of a rotting advertisement. These moments prompt intellectual discussion and reflection upon both personal and societal values. Gaming’s best examples of art are those which prompt the kind of intellectual discussion which The Last of Us does.

However, it would be wrong to assert that all video games are art. For every thought provoking title like Inside or Journey, which feature no dialogue and are driven by gameplay, there is a My Name is Mayo. In My Name is Mayo the player must click to tap a mayo jar. That’s pretty much it. The beauty of video games being an artistic medium is that someone could construct an argument for the artistic value of My Name is Mayo. Better yet, you could argue that it does not matter if the game holds artistic value or not.

Ultimately, that is what it comes down to. Video games are an artistic medium, the potential exists for a video game to be defined as art. Defining art, though, is something of a fool’s errand and the debate of whether video games are art or not is a tired one. It might be better to ask why critics feel threatened by the idea of defining video games as an art form. Video games can be art, many games are art but those games that are not, does not make them any less valuable.

Arrival – Review

Dennis Villeneuve’s Arrival is an engrossing Sci-Fi experience which substitutes weapons for ingenuity.  The film is a refreshing take on the first contact trope, as Dr. Louise Banks (Amy Adams) attempts to uncover the alien visitors’ intentions through using her skills in linguistics. The result is an engaging experience which conjures drama and tension without violence, relying upon a captivating performance by Adams and a story which is grand in scope but manages to remain personal.

Little time is wasted setting up the aliens’ arrival. The visitors, dubbed Heptapods, position twelve ships at seemingly random locations throughout the world. The affected countries establish communications with one another in an attempt to ascertain what the Heptapods’ intentions are. Colonel Weber (Forest Whitaker) is sent to recruit Dr. Banks after some previous successful linguistic work with the army. Not every country agrees on a particular approach and China’s preference for aggression establishes a simmering threat to Dr. Banks’ peaceful method.

Much of the emotional resonance in the movie is attributed to a tragedy in Dr. Banks’ personal life. This tragedy, and the scenes depicting Banks’ personal life, creates an additional layer of tension which compliments the pressure situation of trying to communicate with the Heptapods. Ian Donnelly (Jeremy Renner), an astrophysicist, is an effective foil for Banks and the two build their own relationship as they attempt to construct one with the Heptapods.

Banks’ efforts to communicate with the Heptapods are key to getting an answer to the question: ‘What is your purpose on earth?’ She establishes visual aids as the most effective method of creating an understanding with the visitors. It’s fascinating to witness a rapport develop as they teach constructs of our language that we take for granted.  Each breakthrough that Banks makes is met with further pressure from Colonel Weber as the twelve countries stop cooperating with one another.

It becomes frustrating that Weber often doubts Dr. Banks, despite the obvious duress he is under, as this slips into cliché territory. Whittaker’s accent becomes as inconsistent as his character’s motivations. One particular plot point is too quickly glossed over whilst another borders on descent into the realm of silly. However, Adams’ engaging performance keeps the audience grounded as the film reaches its climax.

Fans of recent Sci-Fi hits such as Interstellar and Midnight Special should enjoy Villneuve’s Arrival, as it poses thought provoking questions whilst managing not to lose sight of the human aspect. This is owed to Adams’ excellent performance. The movie’s more ambitious elements remain grounded through her ability to engage the audience as the Heptapods’ true intentions are deciphered. Indeed the prevailing message, that humanity must work together, has never been more relevant.

 

Don’t Breathe – Review

Don’t Breathe focuses on three young thieves planning to rob a blind army veteran’s home. The movie lures audiences in with this premise and what we uncover is something far more sinister. Fede Alvarez’s latest horror demonstrates a masterful use of silence to develop tension whilst toying with the audience as we question just who it is we are rooting for.

Don’t Breathe opens with a scene which casts doubt on how innocent The Blind Man is, before spending a few short scenes establishing the daily lives and struggles of the ‘protagonists’ in attempt to lend sympathy. It’s fairly routine stuff; Rocky (Jane Levy) plans to escape Detroit with her young sister, saving her from a dead end life. Money (Daniel Zovatto) is in a loose relationship with Rocky and is responsible for trading the group’s bounty for cash. Alex (Dylan Minnette) is the voice of reason – initially unwilling to break into The Blind Man’s home. It’s also clear he has romantic feelings for Rocky. Their target, The Blind Man, received a huge cash settlement when his daughter was killed in a road accident.

The Blind Man’s neighbourhood is desolate, each house abandoned, only his home remains reflecting the only choice these characters feel they have. The setting captures the dead end life the thieves are facing. Once inside the home, they quickly lose control of the situation. The Blind Man is more than capable of defending his home and they become trapped in a situation which threatens to cost them their lives. The vacant neighbourhood that seemed to grant them freedom instead traps them, as their screams fall upon deaf ears.

The camera work is particularly effective in capturing hints that help The Blind Man navigate his home. One terrifying scene in the basement has Rocky and Alex attempt to flee The Blind Man in the pitch black. Alvarez expertly demonstrates the advantage The Blind Man has as he navigates using his other senses. He holds his arm aloft, touching a segment of lowered ceiling and feels items on shelves which help to place himself.

Alvarez grips the audience through his use of silence. The biggest advantage the thieves have is to avoid making any noise. The suspense creeps up on the audience and snares us, just as the thieves strive to contain every breath and squirm across floorboards as they attempt to escape.

The initial plot is formulaic enough, though this doesn’t serve to spoil the enjoyment. That the Blind Man harbours a secret is somewhat predictable. However, by twisting the formulaic premise the movie creates an extra dimension. It scratches at some of our most primal fears, adding another horrifying layer to the movie.

Don’t Breathe is an engrossing horror which exploits silence and clever camera work to deliver a thrilling, twisted experience that exceeds its initially formulaic premise.