Black Panther Movie Review

Released: 12th February 2018 (UK)

Length: 134 Minutes

Certificate: 12A

Director: Ryan Coogler

Starring: Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Forrest Whitaker and Andy Serkis 

Black Panther is the eighteenth film in Marvel’s long running franchise and it’s been built up as one of the more high-profile releases in recent years. It isn’t the first superhero film to feature a black lead (Marvel’s own Blade trilogy and 2008’s Hancock predate the MCU’s effort) but it is the very first to dive deep into areas of both history and culture that are so often ignored in popular entertainment. With the wrong direction or production, a film like this could have been mishandled, but Marvel knew from the get-go what they wanted from the first all-black superhero film; the result is another sure-fire hit.

Taking place shortly after Captain America: Civil War, Black Panther follows the titular king of Wakanda (Chadwick Boseman) as he comes to terms with being the new ruler of a region hidden away from the rest of the world. At first the task of running things seems simple; take revenge on terrorist Ulysses Klaue (Andy Serkis) who murdered the hero’s father, but then the film goes sideways as the sins of past generations come to light, creating further complications for the kingdom. This thematic shift in tone is where the film hits its stride, becoming more than just another superhero film with action sequences and character moments. But where Black Panther differs from every other superhero film ever made is its subtext; there are several honest and sincere nods to slavery, colonialism and even the modern police brutality and systematic discrimination that black Americans face in the United States. It weaves all these threads into the plot seamlessly, without beating you over the head and because director Ryan Coogler is incredibly well versed with these messages, they feel especially relevant in modern times. There are some members of T’Challa’s court who feel a bit underdeveloped though; when the feud between the King and his would-be usurper erupts, there could have been more internal conflict there. On top of that, I was left wishing that the citizens of Wakanda had more of a role, which would have added a further dynamic to the royal struggle that takes place.

The interesting thing about Black Panther as a character is that physically he’s practically unstoppable, with all the wealth and technology to fuel his crusades; yet it’s his family connections and more thoughtful side that are tested throughout the film, making his journey even more enthralling. The other members of his court, particularly the head of the royal guard Okoye (Danai Gurira of The Walking Dead fame) former lover Nakia (Lupita Nyong’o) and T’Challa’s vastly intelligent sister Shuri (Letitia Wright) are all especially likeable in that they commit fully to both their actions and viewpoints. There’s a very firm split between the African heritage of Wakanda and the more American-centric inhabitants of the US; this contrast enhances the film’s competing ideas. One side wishes to stay hidden, not interfering or getting involved in the affairs of the world and the other, angry at the way they have been treated, wants to fight back. The latter viewpoint is what makes Michael B. Jordan’s N’Jadaka so compelling. He has carried out many awful deeds, but his anger stems from a very real societal issue, adding an element of sympathy to his character. Tying the film in with the rest of the MCU, Martin Freeman’s Everett Ross has a decent amount of screen time without ever distracting from the main cast and Andy Serkis is capably over-the-top as Klaue. There really isn’t a single weak cast member to be found in the film.

The look of Black Panther is incredibly imaginative from both an artistic and technical standpoint; the main setting of Wakanda utilises a style called afrofuturism, which reimagines Africa as a continent free to grow on its own accord without the intrusion of colonial invasion; the result is a futuristic city which looks like nothing ever seen in the MCU before. Yet even with all its towering skyscrapers and rapid trains, the production team balanced this out with ties to traditional African culture; this shows mainly through the costuming work and the soulful singing of the crowds which both feel vibrant and authentic. Primary colours are especially prevalent, marking the members of T’Challa’s council with importance. The action scenes are very well shot and choreographed; often the camera will pull and pan around the action, focusing on one character then another in quick succession and this is only aided further by an excellent soundtrack featuring the talents of Kendrick Lamar among other artists which gives the film a very punchy style.

Black Panther has gotten a lot of press for being an all-black led superhero film but that is only half of the film’s success story. It expertly blends both African and African-American culture to create a dramatically different superhero movie, one made better by a strong villain and superb crafting of its world. Outside of a few missed opportunities, everyone involved with the film throws everything into making it work and it’s because of this that Black Panther demands to be seen.

Rating: 4.5/5 Stars (Brilliant)

R3: Ready Player One by Ernest Cline

Released: August 16^th 2011

Genre: Sci-Fi, Fantasy, Dystopian Future

Number of Pages: 372

For at least five decades now, entertainment media has become a fledging part of society; all the fan conventions, nerdy gatherings and gaming tournaments you see today are products of years of build-up and nostalgia. Tapping into this spinal cord of culture, Ernest Cline’s first novel embraces this mentality wholeheartedly. Seeing how it homed in on one of my favourite pastimes, I picked it up towards the start of 2018.

Ready Player One blends the real world with the virtual one, visualising a dystopian future where just about every human on the planet hooks into the Oasis, a virtual world where you can live an entirely different life as an entirely different person on an amalgamation of varied worlds and levels. Designed by the near god-like James Halliday, the renowned games designer leaves a final gift; a cryptic Easter egg hunt where the winner will receive his entire life’s fortune. In short, it’s the ultimate gaming contest and the young Wade Watts (Known by the alias “Parzival” inside the game) sets out with his close friends “Aech” and “Art3mis” to find it, all the while being pursued by the corrupt corporate eye known as the “Sixers”. It’s told from Wade’s perspective across three “Levels” in the first person and the book’s opening lays bare the rules that make the Oasis tick. For all its sci-fi trappings, the dystopian real-life the book portrays does feel somewhat plausible; a world ravaged by global warming, corporate greed and poverty, which does pull you in from the offset despite an obvious exposition dump. This also gives way to some of the novel’s bleaker moments which sees the villainous IOI Corporation pressing down on the thousands of players within the system.

The characters are all equally nerdy techno-geeks with a considerable knowledge of the virtual world’s ins and outs, with their ramblings casting the reader’s mind back to works of pop culture; classic arcade games, retro films like 1983’s Wargames and a scattering of music tracks here and there. It’s very clear from the offset that “Parzival”, “Aech” and “Art3mis” are the main leads and while they’re all well-rounded in terms of characteristics, there are some other characters who go by underused. Shoto and Daito, two Japanese brothers show up far less often, which reduces the amount of impact they have on the plot. In turn, this means you can often see the twists and deaths coming which removes some of the unpredictability. Be that as it may, the novel makes a gradual shift from basic video game contest with everyone in it for themselves, to something more personal and emotive towards the end and this is also a welcome change of pace.

Recommended?

That depends on your own preferences; if you’re a fan of the eighties, entertainment media or cultural hits in general, then Ready Player One, despite its intentional clichés and somewhat predictable moments will read like a love letter to your favourite hobbies and old nerdy fantasies. If not, then you’ll probably find the book jarring, even tiresome with all its references laid throughout the narrative. You’ll have a tough time picturing the assorted items, vehicles and worlds mentioned throughout the book.

In December 2017, Cline confirmed that a sequel (likely titled Ready Player Two) is in the works as well as a film adaptation directed by Steven Spielberg set to be released this year in March 2018; knowing his penchant for whimsical tones, he’s sure to lay off the darker aspects of the book to keep the age rating down while adding in all kinds of modern references to the plot. Will it rely too much on this to pander to nostalgia? Regardless of such, I’ll check the film out when it releases, along with the eventual follow-up.

Mindhunter Series Review (Season 1)

Released: October 17th 2017

Created by: Joe Penhall

Number of Episodes: 10

Where to watch: Netflix (UK and United States)

Starring: Jonathon Groff, Holt McCallany, Hannah Gross, Anna Torv and Cotter Smith

While the crime genre has long commanded a significant level of interest, the efforts placed into the small screen have often relied on thriller and action elements to make their impact, namely Keifer Sutherland’s long-running 24 series. Bringing together a fine list of producers alongside committed acting talent, Mindhunter is an excellent effort to create a more rooted take on the criminal investigation sub-genre.

Taking place in the 1970s, Mindhunter (based on the book of the same name by John E. Douglas and Mark Olshaker) chronicles the FBI’s efforts to understand the thinking and motives of brutal murderers. Led by the young Agent Holden Ford (Jonathon Groff) and his partner Bill Tench (Holt McCallany) a group is established to specialise in the interviewing and research of psychologically unstable convicts. The series is framed both in and out of the character’s working lives, gradually revealing more about each of them while progressing their arcs; Holden meets and falls for hippie masters student Debbie (Hannah Gross), Bill has some family drama behind the scenes and later on the team expands to include other members. From the offset, you’re intrigued by Holden’s motives, sharing his frustration at the lack of knowledge possessed by the Bureau and this translates brilliantly to the plot of each episode. Despite the close encounters between agent and serial killers, much of the brutal crimes examined are sanitised within photographs and descriptions and this works to create a distance between the two entities. Holden and his team may study the nature of psychopaths, but they are often shielded from the more sadistic points of the violence; this in turn, generates a dramatic tension between the characters, as the stress levels begin to mount and accountability from other sections of the FBI begins to point in their direction. Around two thirds into the series, an unnamed character is given small segments in the runtime, and this is the only part of the narrative that feels out of place; we learn very little about this person and outside of tying into the series theme of psychological analysis, he doesn’t factor into the progression of the main cast, making it feel unnecessary.

With its strong focus on realism, the cast all do an excellent job at delivering varied personalities and individual flaws. Holden feels especially engaging, even relatable to some with his fierce dedication to his work juxtaposed against his rarer social outings. On the other hand, Bill is more grizzled and seasoned, his experiences playing off his partner very well. Later on, insights by psychology professor Wendy Carr (Anna Torv) provide another strong dynamic, with the series taking the time to dedicate plenty of screen-time to her in one episode. This is one of Mindhunter’s greatest strengths. There’s a superb chemistry between every member of the cast combined with a clear focus on their working days. With a few exceptions, the characters are shown to live their lives by routine; Holden and Bill hop on planes, turn in their equipment to prison guards, stage prolonged interrogations of violent killers then head back to the office before doing it all over again. It’s a style of occupation that’s well suited to the ten episodes, which look at different incidents in pursuit of an overarching goal; understanding why some are driven to kill and mutilate. This in turn, allows for a consistent switching of settings from California to Kansas City, which is where the series’ surprisingly deep production values.

The showrunners have worked in a few aesthetic features to set Mindhunter apart; the colour palette is heavily saturated, grounding the series in the seventies effortlessly and the constantly changing locations mentioned earlier mean that things never grow stale. The camerawork is precise and fluid, always keeping the characters in focus and often status also plays a role, be it the closing of doors or contrasting costume work that represents the more frictional moments that build throughout the investigation efforts. Often Holden looks out of place, his suit sticking out amongst all the zany fashion trends of the time and at other points the camera will face sideways on, pitting some characters and their opposing views against each other. A liberal use of close-up shots ensures that all the mixed and wild emotions spinning around the minds of psychopaths are placed front and centre, ensuring that the intrigue always reaches its peak. The soundtrack features a range of classy period-piece tracks that are often played over the end credits of each episode and these work equally well.

While it differs from the straightforward action and thriller elements of other Netflix franchises, Mindhunter is, above all else, incredibly smart with its plot and characterisation, creating a well-realised adult themed series with enough realism and detail to get you thinking.  

Rating: 4.5/5 Stars (Brilliant)

Subnautica Game Review

Released: January 23^rd 2018 (Version 1.0)

Developer: Unknown Worlds Entertainment

Publisher: Unknown Worlds Entertainment

Price: £19.49

Formats: PC (With releases on Xbox One and PS4 planned)

Format Played: PC

Unknown Worlds Entertainment is a developer that sits somewhere between the heavy-hitters of the industry and the amateurs just getting to grips with game engines; their previous title: Natural Selection, drew a cult following while showcasing the developer’s talent in creating grotesque and repulsive monsters. After three years of development, Subnautica has found a full release, becoming one of the rare early access titles to blossom into a successful and worthwhile product.

Much like other contemporaries of the genre, the story of Subnautica is simplistic. Crash landing aboard the Aurora on the backwater planet 4546B, the game casts the player as a lone unnamed survivor who must scavenge what they can, explore the wreckages of other life pods and hopefully escape, all the while being hunted by the gargantuan creatures of the deep. Accomplishing this will take a lot of free-roaming, hunting for supplies and braving the darker reaches of the planet. A helpful PDA opens the game with a few basic directions and from there the planet is open for full exploration. With a simple HUD measuring your oxygen, health and sustenance levels, you’re free to wander at your own pace, gradually learning about the danger zones while acquiring those all-important blueprints to further expand your wayfaring prowess. What sets Subnautica apart from just about every other survival game on the market is the theme of discovery; you’ll be scanning and analysing many things throughout the game and as you explore further, more and more will be revealed about the backwater planet, including you ended up crash landing in the first place. Despite all the monsters patrolling the water, you’ll feel even more compelled to keep going to find that one item or resource you need, and this is where the game becomes incredibly addictive. As things go on, you’ll begin constructing awesome underwater bases with further components to add as more options become available; there are even vehicles from the lowly Seamoth to the hulking Cyclops submarine. The most rewarding moments of Subnautica come when you gather all the materials together, watch as your stainless-steel vehicle is built and hop right in to explore further pastures. It only takes one upgrade part, or one elusive material and you’ll be hooked, hellbent on exploring further. With all that said though, the game does have its share of limitations; there’s an area known as the dead zone which serves as a boundary to the game’s otherwise fluid open world and this could be filled with further biomes as the game continues to develop. In addition, the game is also begging for multiplayer via a cooperative survival mode and we may be waiting a while for that.

A first-person perspective proves to be the best choice made by Subnautica in its efforts to fully immerse you in the strange water planet. Swimming around is a breeze with the keyboard moving the character and a few left or right clicks breaking open mineral stones, picking up items or interacting with objects. It’s all very intuitive and when paired with a clear and straightforward resource management display, you’ll be able to get into the game very quickly. The challenge comes through survival as a whole; aside from a measly survival knife, you really don’t have any defence against the larger creatures in the game, forcing you to exercise extreme caution when journeying to the more hostile reaches of the deep. The predators that lurk around the planet include burrowing sharks, ugly looking sea worms and of course, the gargantuan leviathans which can devour the player in a single gulp. Dying sends you to the last spawn point, losing a few items, or if you’re mad enough to play on hardcore mode, spell a permanent end to your time on 4546B. For these reasons, Subnautica is a surprisingly effective horror title; you may be patrolling the depths in your Seamoth, only to be jumped from behind by a Reaper Leviathan which wraps its tentacles around the cockpit and starts biting into the hull. This sense of foreboding tension is only heightened the deeper you go towards the planet’s core and you’ll have to do so to eventually craft the many tools at your disposal. Some of the most important of these are the scanner (allowing you analyse creatures and resources), laser cutter and fabricator (which allows for the creation of base pieces). With so many items to keep track, resource management is key and while there’s plenty of options for storage, the five-item key bindings (accessed via the 1-5 keys) feels too low considering the massive number of items in the game world.

On the surface, Subnautica is a great looking game; given that at least 90% of it takes place in or under the water, the vast amounts of blue that permeate the game’s environments all look brilliant, with the rolling waves looking especially stunning. The variety of alien creatures and locales on the planet is also very strong, from giant reef forests on the surface to volcanic activities deep below the surface. The music is incredibly understated, delivering a technological and aquatic feel that is only interrupted by the other-worldly roars and shrieks that come from the larger monsters in the game. Despite coming out of early access however, there are still some bugs here and there; the front half of the Aurora (specifically the part left in pieces) looks especially jagged, with awkward textures jutting out of a sand hill. The game’s biggest issue that is directly linked to gameplay however is pop-in; often in-game items, particularly resources, won’t be visible until you’re close to them, meaning you’ll often miss them completely while swimming around. Other bugs I encountered included frame-rate drops in deeper biomes, occasional game crashes and points where pieces of the environment vanished when certain buildings were in play, leaving an empty void. You’ll have to stomach these technical hiccups to enjoy Subnautica’s addicting qualities for the time being.

Parts of it are still very rough-around-the-edges but Subnautica is one of the better success stories in the often-crowded survival genre. If you’re brave enough to take the plunge, you’ll find a ferociously addictive survival game which is more than just Minecraft in an underwater setting.

Rating: 7.5/10 (Good)