Saturday, 20 January 2018

Episode Four of 'Batman: The Enemy Within' Premieres January 23, See the New Trailer Now

Episode Four of 'Batman: The Enemy Within' Premieres January 23, See the New Trailer Now

Download the Official Trailer for Episode Four of Telltale's 'Batman: The Enemy Within' Ahead of Episode Premiere on January 23

Episode four, 'What Ails You,' continues the second season of the acclaimed adventure series from Telltale Games, Warner Bros. Interactive Entertainment, and DC Entertainment.

Today we are excited to share the official trailer for the penultimate episode of Batman: The Enemy Within, the ongoing five-part episodic game series that continues Telltale's unique take on the World's Greatest Detective. You can download the trailer by following the links above. Episode four, 'What Ails You,' launches Tuesday, January 23 on Xbox One, PlayStation 4, PC, Mac, and mobile.

When the Pact puts its plan into motion, Bruce's cover is finally blown, and as his web of lies unravels, new questions emerge: When and how will the Pact regroup? What's truly motivating Amanda Waller and the Agency? And perhaps most importantly, how will John Doe handle the truth about his buddy Bruce? With another showdown brewing, the clown prince of crime may finally earn his crown...

Rendered to look like a living, breathing comic book, Telltale's vision of Batman features an award-winning cast of talent including Troy Baker, who returns to reprise his role as Bruce Wayne, as well as Anthony Ingruber, who reprises his fresh take on 'John Doe,' better known to fans as The Joker.

This new season is intended to be accessible to both returning fans and newcomers alike, though players' choices from the first season of Batman: The Telltale Series will optionally carry over into The Enemy Within. This season also includes Telltale's unique multiplayer 'Crowd Play' feature, which allows friends and family to engage with the adventure together by helping to decide the direction of the story from any mobile device with an internet connection.

A special 'Season Pass Disc' for Xbox One and PlayStation 4 is currently available at retailers across North America and Europe. The disc includes the first episode of the season, as well as download access to all subsequent episodes as they are released.
Batman: The Enemy Within is a standalone product separate from the first season of Batman - The Telltale Series. Both products are licensed by Warner Bros. Interactive Entertainment and based on DC's iconic character. Episode four, 'What Ails You,' has been rated 'Mature' by the ESRB.
For more information on Telltale Games, visit the official website, follow @TelltaleGames on Twitter, and like Telltale on Facebook.

We Happy Few’s Latest Blog Reveals Female Playable Character, Updates Release Schedule

We Happy Few’s Latest Blog Reveals Female Playable Character, Updates Release Schedule

We Happy Few’s Latest Blog Reveals Female Playable Character, Updates Release Schedule

Frisco, Texas - January 19, 2018/ Today, Compulsion Games released a developer update video detailing what’s to come for We Happy Few, including a glimpse at the second playable character, Sally. We Happy Few is now content complete, Compulsion Games announced, and the team is taking more time to polish following some major improvements to the beginning of Arthur’s storyline.
“There are these moments that are memorable, very funny, and super weird and we’re really excited to show you all” said Sam Abbott, Producer for We Happy Few. “But we felt that the first two hours of Arthur’s story just didn’t live up to those moments, meaning that the game didn’t start as well as it should. So we went back to the drawing board and made a couple of big decisions: we brought forward a number of story moments, to get into the action faster, and also rebuilt the whole first island for Arthur.”
Watch the update video on YouTube
We Happy Few will now release in Summer 2018 for Xbox One, PC, and PlayStation 4.
Since its early days as a crowdfunding digital success, We Happy Few has continued to expand. With the help of Gearbox Publishing, its scope has been increased to include a full-length story campaign, three playable characters, and more than 250 unique encounters.
Compulsion Games and Gearbox Publishing will continue to provide weekly updates about the progress of the game.
About We Happy Few
We Happy Few is the tale of a plucky bunch of moderately terrible people trying to escape from a lifetime of cheerful denial in the city of Wellington Wells. In this alternative 1960s England, conformity is key. You’ll have to fight or blend in with the drug-addled inhabitants, most of whom don’t take kindly to people who won’t abide by their not-so-normal rules. Discover the retrofuturistic city’s dark history as you play through the intertwined narratives of three quietly rebellious citizens of Wellington Wells, each with their own strengths and weaknesses, as they face their pasts, prepare for the future, and engage in activities that aren’t exactly status quo in the artificially enthused society.
For the latest updates, visit the official website or follow Compulsion Games on Facebook and Twitter.

Monster Hunter World Beta back again

Monster Hunter World Beta back again

open beta 19–22 January
An epic journey awaits

Venture on quests and battle fearsome monsters in a living breathing ecosystem. Track, hunt, slay, loot and craft new weapons and armour on your journey to become the ultimate hunter.

• Explore an ever-changing terrain where the surrounding environment and wildlife can be used to your advantage.
• Hunt solo or with up to three other players from around the globe with seamless drop-in multiplayer co-op.
• Complete the exclusive Horizon Zero Dawn™ themed event quest to forge Aloy’s bow and full armour set along with machine armour for your Palico companion – available for free and only on PlayStation®4.

Pre-order now to get the Origin Set, Fair Wind Charm and special theme for your PS4™.

Friday, 19 January 2018

Maudie: DVD Review

Maudie: DVD Review

Canadian artist Maud Lewis may be well known to some but not others.
Maudie: Film Review

However, if there's any justice, Sally Hawkins' portrayal of the cowed artist should see the film garner wider praise and Oscar nominations when the time is right.

Hawkins is Lewis, who starts the film cowed and knotted as she clasps desperately at a paint brush with ageing limbs. Rattled by her brother's insistence on selling the familial house, Maudie heads out to get a job after seeing an advert placed by Ethan Hawke's gruff and brutish Everett, a loner who works at the orphanage but has no tolerance for waifs outside of those walls.

Inevitably Maudie starts working there and the relationship develops. But as Maud discovers her own voice, the love story takes another twist.

Maudie: Film Review

Anchored in a stunning turn from Hawkins who imbues the physicality of Lewis with an underplaying and underpinning of her condition rather than overly relying on it a la Eddie Redmayne in The Theory of Everything, Maudie is a slow, at times, sedate examination of the lives and love of two people.
Maudie: Film ReviewHawke's Everett may be a little impenetrable at times, but it's in the subtleties of the relationship that Maudie grows to life. Taylor uses some small touches to show the shift in between the pair, and throws in a touch of tender humour as well to reverse the roles.

Less successful is the passing of time, which is marked in the usual ways but feels muddled as their lives go on, leaving the viewer uncertain of the world and time zone they inhabit. Granted, their simple meagre existence settles them outside of such concerns and the spotlight of the story is purely on them, but odd touches from Taylor don't help add to the timelessness of a story, and merely do more to mark it out.

Ultimately, Maudie is a film which is a portrait of a woman and her curmudgeon; it's blessed by a distinctly human and subtle turn from its leading lady, and if there's any justice come awards season will be rightly recognised so. 

Thursday, 18 January 2018

Maze Runner: The Death Cure: Film Review

Maze Runner: The Death Cure: Film Review

Cast: Dylan O'Brien, Thomas Brodie-Sangster, Kaya Scodelario, Ki Hong Lee, Aiden Gillan
Director: Wes Ball

The Maze Runner series has generally been a good and ambitious YA adaptation from James Dashner that's pandered to little of the excesses of its literary genre and provided a good whack of dystopia for those missing The Hunger Games franchise.

The conclusion, Maze Runner: The Death Cure, arrives on screens after a substantial delay due to Dylan O'Brien being injured on set and filming being put back. After a three year delay, you could be excused for not remembering exactly how it The Scorch Trials ran into this latest. (Certainly, the latest has no desire to recap the series for newbies.)

Maze Runner: The Death Cure: Film Review

With their friend Minho kidnapped by nasty organisation WCKD and apparently betrayed by Teresa (Pirates of The Caribbean and Skins actress Scodelario), what's left of the Gladers, headed up by Dylan O'Brien's Thomas, set in motion a plan to storm the city, snatch their friend and escape from the trials and adults once and for all.

Opening with a pre-credits' heist sequence that blows any potential for brooding out of the water, Wes Ball's The Maze Runner: The Death Cure seems intent on settling for action over anything else, as it pulls together the strands from the first two films.

Unfortunately, what emerges is somewhat hindered by a lack of real emotional edge (potentially due to the exorbitantly long yet unavoidable delay) and prefers to favour solid yet formulaic sections of action over anything else.

The set pieces are delivered dependably by Ball, but there's little flair in the formulaic here, more a solid representation of what you'd expect at this point in the series. As the revolution grows and the parallels of shadowy organisations gunning down their own populace seems to draw on one of Mockingjay's darkest scenes, Ball handles it all with gusto, if storyboarding it unremarkably to generic execution.

Essentially an extended jail break movie, The Maze Runner: The Death Cure's break-in-to-break-out ethos gives the Gladers the chance to be on the front foot throughout, rather than looking like victims and lab-rats.
Maze Runner: The Death Cure: Film Review

O'Brien's solid if lacking a little charisma and it's left to Brodie-Sangster and the ever dependable Poulter to deliver some of the heart and humour that's sorely needed.

Much of Maze Runner: The Death Cure's MO is the unspoken love affair between Brodie-Sangster's Newt and O'Brien's Thomas, and certainly the betrayal by Thomas' ex Teresa never quite reaches the emotional peak and fruition you'd hope for and expect with involvement.

In terms of villains, Gillen's smirking Janson's on hand to provide conflict, but the conflict never quite builds on the promise of previous films, and feels rote at best.

Parts of the film are narratively convenient, and the use of the zombie-like Kranks feels more shoehorned in to allow parts of the story to progress, even if logic and behaviour never follow through and develop consistency within their own world.

However, that's been problematic of the series, one that's content to use characters to propel the action, rather than to engage with - and certainly the ethos of the lab rats / children conundrum is never anything but skin deep.

And with the scale of an apocalypse building, you'd expect Maze Runner: The Death Cure to have higher stakes, but by concentrating on the Gladers' insular world, and falling back only on the outside world when it needs to punctuate moments, Ball's Maze Runner conclusion feels more like it's slightly fumbled the scope of what it wants to achieve - and certainly its conclusion feels lacking in a wider resolution.

In the wash, Maze Runner: The Death Cure is a solid and just about watchable, if overlong, action film that never quite achieves the emotional highs of its mysterious first outing.

Wednesday, 17 January 2018

The Shape of Water: Film Review

The Shape of Water: Film Review

Cast: Sally Hawkins, Doug Jones, Richard Jenkins, Michael Shannon, Octavia Spencer
Director: Guillermo del Toro

How you feel about whimsy will largely dictate your feelings on the beautifully sumptuous but occasionally wanting Golden Globe nominated The Shape of Water.
The Shape of Water: Film Review

In Guillermo del Toro's Cold War fairytale, Hawkins plays mute janitor Elisa, who lives with a struggling artist (Jenkin, in a warm and empathetic performance) above a cinema.

One day at work, Elisa encounters a strange event, when an apparent iron lung is shifted into the research facility where she works, complete with mysterious G-man (played with vitriol by Michael Shannon).

Despite being ordered not to do so, Elisa discovers a common bond with the Merman type creature in the tank (played by creature wizard Doug Jones). However, with the Russians trying to get their hands on it, and the Americans threatening to vivisect, Elisa decides to take matters into her own hands.

The Shape Of Water has some truly astounding visuals and is awash in a Jeunet-esque green glow that bathes everything in marine. Many sly references are made to green being the colour of the future, and the opening sequence, with its startling aqua-world is covered in green, and reflective of both the film's mystery and its 30s monster movie machinations.
The Shape of Water: Film Review

Yet, even for a fantasy, there are moments in the Cold War showdown that don't hold together - lapses of logic and behaviour mar parts of the film and slightly take you out from the fantasy within.

Thankfully, even though the film's drowning in fantasy, it's grounded by some very human presences.

Jenkins is the everyman with heart, whose desire to fit in and return is rendered all the more tragic because of societal attitudes to his open lifestyle; Jones is as impressive as ever as a creature, with plenty of years in Hellboy to know that the simplest move of his Creature from the Black Lagoon can mean so much and Shannon's driven Government agent is as necessary a villain as you'd need in a film like this.

But it's Hawkins whose mute turn speaks the loudest in del Toro's movie about the love of movies. Her empathetic Elisa gives the fantasy its heart, and in her silent turn, Hawkins pays tribute to Del Toro's aim to salute the golden era of Hollywood's finest. But there's depth to Hawkins, even if the connection initially with the creature feels a little forced; this is a film that follows the conventions of Hollywood's monster movie era where a kindred is born.
The Shape of Water: Film Review

Ultimately, The Shape of Water may go on a little too long, but if you're content to rest in its fantasy world and revel in Del Toro's unique vision, it's the perfect luxuriating piece of cinema.

Tuesday, 16 January 2018

All The Money In The World: Film Review

All The Money In The World: Film Review

Cast: Michelle Williams, Christopher Plummer, Mark Wahlberg, Romain Duris
Director: Ridley Scott

It's hard not to view All The Money In The World without the fog of controversy that's clouded its admittedly quiet release ahead of the awards season in 2018.
All The Money In The World: Film Review

The tale of the kidnapping of Paul Getty inspired by true events and through the lens of Sir Ridley Scott has been blighted since it was unleashed.

Wrapped in a furore after Kevin Spacey's JP Getty had to be digitally removed and was recast as Christopher Plummer following sexual misconduct accusations against Spacey, the film was further hit by a row over pay parity when Wahlberg netted 1500 times more for his co-star Williams in subsequent reshoots.

Interestingly, what plays out on screen in the adaptation of John Pearson's 1995 book Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty is actually both sickly compelling and stultefyingly overlong.
All The Money In The World: Film Review

For those unaware of the 1973 kidnapping of the 16-year-old Paul, grandson of oil tycoon JP Getty (Plummer, in a commanding and cruel presence from the moment he shows on screen) the story follows the back and forth between the kidnappers, Paul's mum (Williams, all grace and clipped diction) and the investigator Fletcher Chase (Wahlberg, solid and dependable) hired by Getty to return the kid at the lowest cost.

Playing like an episode of Criminal Minds: Beyond Borders, the film's strength comes from its performance of both Williams and Plummer - and a compassionate turn by French actor Romain Duris - rather than for the strength and depth of its story-telling.

A few flashbacks give some heft to the emotional backstory within, but Getty's particular cruelty feels surface-deep, even if Plummer's nuanced veneer bristles with intolerable cruelty and distinct inhumanity.

But the film's strongest is Williams, a non-showy turn that has both poise and vulnerability as the mother caught in the middle of a tycoon determined to stand his ground and a situation threatening to reek of tragedy. A few lip trembles here and there amid a distinctly controlled performance from Williams grants the film the emotional edge that it so sorely needs and shows once again, that she's an actress of fine form and prestige in whatever projects she chooses.
All The Money In The World: Film Review

Ultimately, Scott's chopping back and forth in the story robs it of some its initial tension, though the suspense does build up at the expense of any true character depth - Wahlberg's CIA agent and subsequent change of mind is the worst served by the script and story choices.

In the final wash and when viewed away from what's clouded it, All The Money In The World could have used a slight cull and some tighter editing to ensure it keeps its vice-like grip tighter wound. It's a compelling, fascinating story, but bereft of some of its richer emotional edges, it teeters dangerously - and unfortunately - close to indifference.