E3 2017 Post-Mortem Part 2: Ranking the Press Conferences (Second Half)

PC Gaming Show

The good

• Plenty of focus on both games and tech

For all the developer talks and walkthroughs present at the PC Gaming Show, there’s plenty of attention directed to the tech behind the latest rigs and PC powerhouses. Intel showed up again this year, offering morsels of upcoming tournaments, Virtual Reality ventures and the announcement of Destiny 2 for the PC. It was very much connected to the audience watching the show and worked to include them in a way not really seen at the other press conferences.

• XCOM 2: War of the Chosen Announcement

While there were relatively few new announcements at the PC Gaming Show, the one that did steal the show for me was the XCOM 2: War of the Chosen expansion which boldly promises an amount of content that would rival XCOM 3. New enemies, three separate mercenary factions that can be recruited to XCOM and a deeper focus on mental psionic powers. It all points to a creative team that continues to provide a phenomenal vision for the XCOM franchise. I’ll be checking this out when it releases in August; how it will factor into mods and Long War 2 will be another intriguing proposition.

The bad

• A slightly cringeworthy host and presentation

With Ubisoft having removed their cringy performances this year, the PC Gaming Show ended up on the wrong side of presentation styles this year. Returning from last year, Sean "Day9" Plott attempted to convey a laidback charisma but the commentary he had to make on several games stood out as very awkward. For a community of gamers and developers made up of a mostly hardcore crowd, he served a large distraction from many of the more interesting titles on offer.

• More re-releases and games from other conferences

As the Xbox and PC platforms converge, both companies behind their respective hardware have come up with this issue. Multiple appearances by games in both conferences to the point they begin to blend together, their impacts narrowing in the process. Some of the games that appeared at both conferences this year included Players Unknown Battlefields, FORZA 7 and Sea of Thieves. Other titles such as Age of Empires: Definitive Edition didn’t cause much buzz due to their re-release status. The PC Gaming Show needs to do more to set itself apart and keep the case for building the latest rigs over owning a console.

In Conclusion

The PC Gaming Show was mostly OK this year, its announcements and showcases diminished by the fact that many games had been at other E3 pressers already. It’s greatest strengths were a few select moments and a focus on tech that PC enthusiasts like to focus on. It’s just a shame there wasn’t much in the way of games coming exclusively to PC, nor was there much discussion about how the platform is catering to the slow integration of console into the mix.

Conference Grading: 6/10 (Fair)

Ubisoft

The good

• Mario and Rabbids Kingdom Battle: A wacky yet intriguing crossover

Kicking off the Ubisoft press conference this year was a surprise appearance from the legendary Shigeru Miyamoto as he got up on stage alongside Yves Gu to announce a new and unique Mario cross-over. Mario and Rabbids Kingdom Battle is a strategy game where opposing sides go from level to level, moving across a grid to attack the enemy and hopefully come out on top with good placement and tactics. It’s a more accessible version of XCOM, but it’s an incredibly novel and interesting concept for a Mario game. Combine the fantastic looking art styles of both games and you have a real looker as well. For all the wacky misadventures the Rabbids have had over the years, Kingdom Battle could end up being their finest hour. One heck of a way to start your conference off.

• Beyond Good and Evil 2: Biggest announcement of the entire show

After years of absence and fan anticipation, Ubisoft finally delivered the first official trailer for Beyond Good and Evil 2 at E3 2017. While not a sequel as originally planned, the announcement stood out as the biggest new title of the show. A pre-rendered trailer oozed personality with talking animals and a massive, vibrant cityscape, followed up by a journey through space with a rag-tag company that appears to take some inspiration from Marvel’s Guardians of the Galaxy. The game is still a long way off but Beyond Good and Evil 2 was a sure sign that Ubisoft is taking fan feedback onboard (If only they did the same for their business practices), while also stamping themselves as the most exciting announcement of all the press conferences.

• Cutting out cringe-worthy hosts in favour of a cleaner format

The biggest improvement of all though came through Ubisoft’s presentation style. There have been some corny presenters over the years who have tried their hardest to sound hip and cool but only ended up damaging the conference. In 2017 Ubisoft changed this, placing company CEO Yves Guillemot in charge of proceedings. He kept things straightforward and simple, showing off the games without having any forced moments in-between. On top of all that he put a lot of focus on the developers, inviting them up to the stage for a final send-off. It’s far more understated and a step in the right direction for the company.

The bad

• Assassin’s Creed Origins: Cutting off-stage to a smaller screen

Ubisoft has fallen victim to diminished impact at its press conferences as some of its games end up being demoed at other conferences. It happened again in 2017 as Ubisoft had to default to a small monitor outside of its press conference to show off Assassin’s Creed Origins as the original demo had already been shown at Microsoft’s presser earlier. Considering how big of a title it is, it was quite the let-down to see it get snubbed like that; unable to show the game’s technical prowess on a larger scale.

• Skull and Bones: Essentially a multiplayer version of Assassin’s Creed IV: Black Flag

While many Ubisoft titles at the show this year made a big splash, Skull and Bones was perhaps the biggest exception. It’s as if Ubisoft went back to the big success of Assassin’s Creed IV: Black Flag and though: “Hey, do you remember how people wanted multiplayer ship battles in that game? Let’s just repackage that gaming system and call it a new IP”. While the demo showcased at Ubisoft’s conference was action-packed, we’ve mostly seen it all before; Skull and Bones just isn’t doing much to set itself apart as its own unique title right now. This is something Ubisoft Singapore needs to pick up on before releasing in 2018.

In Conclusion

Ubisoft has had some niggling issues with its press conference in the past and yet in 2017, the French corporation finally decided to cut the cringe and deliver their best conference in years and indeed the best of the entire show. Two brilliant announcements at both ends of the conference, plus a heap of exciting material in the middle showed that Ubisoft is really branching out when it comes to genres. While there may be some questionable business decisions to come, Ubisoft’s presser was the best-presented and overall the most exciting.

Conference Grading: 8/10 (Great)

Sony

The good

• God of War and Detroit: Become Human gameplay trailers

Two big PS4 exclusives that had further developments at Sony shows past were the new God of War and David Cage’s Detroit: Become Human. In the God of War demo, Kratos and his son traversed the Nordic environments, with the angry protagonist wielding an axe and extendable shield to deal gruesome damage to foes. It was capped off by the same gargantuan boss fights we’ve come to expect from the series. With a new over-the-shoulder perspective, things are looking up for the new God of War. It’s also a fantastic looking game, from the vast locales to the detailed character models.

As for Detroit: Become Human, we were treated to a detailed gameplay trailer revealing more of the world and characters alongside the central theme of androids revolting against the masses. It’s all looking very intriguing so far, the morals of technology, artificial intelligence being pushed to the forefront. Add to that the elements of choice that became central to Heavy Rain and Beyond: Two Souls and Sony has another uniquely cinematic adventure to use as an incentive to buy a PlayStation 4.

• Insomniac Games’ Spider-Man gameplay debut

Licensed games are typically bargain-bin trash but some game developers go the extra mile to make them great experiences. This year it was Insomniac Games’ turn to take up this mantle with the new Spider-Man game; set to release next year, the game looks proper action packed with all of Spidey’s trademark abilities making their way into the game. After years of Activision holding the license to Spider-Man games, the developers of Ratchet and Clank could be the ones to deliver the next licensed hit to stand alongside the likes of the N64’s GoldenEye.

The bad

• No The Last of Us 2

Just as Microsoft was missing Crackdown 3 last year, this year Sony had the biggest missed opportunity with The Last of Us 2. Announced at the PlayStation experience event in 2016, TLOU2 is a huge exclusive for Sony, considering how the original is widely considered one of the best games of all time. On the biggest stage in gaming, they should have capitalised on this and delivered the first gameplay feed just like they did for the original game back in 2012; if placed well it could have rounded off their press conference with a bang. Instead Naughty Dog featured Uncharted 4: The Lost Legacy expansion which while exciting just can’t compare.

• Shadow of the Colossus: A disappointing remaster

Remastering games has become an unfortunate trend in the current generation of consoles; rather than taking risks, many companies see fit to re-release numerous older games to turn a profit. After The Last Guardian released last year after many delays, many believed that Team ICO would take a break or perhaps move on to a new project. Unfortunately, disappointment was abound as Shadow of the Colossus was set to be re-released again, this time on the PlayStation 4. Quite a shame that time was dedicated to such an incredibly unexciting announcement.

• A lack of big announcements or anything new on highly anticipated games

Sony has made a name for itself over the last few years for laying the smackdown on opponents while also delivering the biggest announcements. 2013 and 2015 featured their best conferences because they went out of their way to impress people. But in 2017, many of these facets were missing. There was still no word on Kingdom Hearts 3, Final Fantasy 7 Remake and Shenmue 3, titles which Sony has thrown its support behind, thrilling millions of fans in the process. To keep fans onboard, updates on these titles should be featured at a high priority for E3.

In conclusion

There’s no doubt that Sony’s 2017 presser was a big step down from previous years; with some unremarkable demos and many titles conspicuously absent despite making such a big buzz before. Sony should have capitalised on the big surprises that had fans going crazy in 2015, especially Final Fantasy 7 Remake and Kingdom Hearts 3 but they didn’t manage to show how any of these titles were progressing. There was also little on PS Vita and PlayStation VR, making their offerings quite limited. Overall, things felt pretty ho-hum for Sony at E3 2017.

Conference Rating: 6/10 (Fair)

Nintendo

The good

• The return of Metroid with Prime 4 and Samus Returns

After a huge backlash against Nintendo with the release of the spin-off title Metroid Prime: Federation Force, the Japanese company saw fit to put the anger to rest by going back to one of their biggest franchises. Two new Metroid games were announced at the event; one is a throwback to the older 2D titles on the Nintendo 3DS and the other marks the return of the best first-person adventure franchises after a decade of absence on the Switch. Little is known about either Metroid Prime 4 or Samus Returns but fans are sure to be pleased that Nintendo is going back to one of their most popular IPs.

• Super Mario Odyssey: Looking like the next great 3D Mario game

It’s been over half a decade since the last true 3D Mario game, Super Mario Galaxy 2, came out and pushed its Nintendo hardware to the limit. Super Mario 3D World for the Wii U was a footnote on the way to the moustachioed plumber’s next big game. Super Mario Odyssey is up to the task; following its reveal earlier this year, it made a smashing gameplay debut. This time the big gameplay hook is Mario’s hat which can be used as a weapon or to possess enemies and use them to traverse the environments which take place across time, space and even more realistic locations such as New Donk City (Clearly taking inspiration from New York). Even with just a few minutes of gameplay, there’s all kinds of possibilities for the latest Mario game, meaning Nintendo could have another system seller on their hands.

The bad

• Relatively few new Switch exclusives

Super Mario Odyssey was a great title to accompany the Direct Event with, but outside of that there weren’t many other exclusives around for the Switch. The motion-controlled fighting game Arms released just in time for E3 and The Legend of Zelda: Breath of the Wild already released earlier this year to critical acclaim, instead choosing to show off its upcoming DLC at the show. Splatoon 2 and Xenoblade Chronicles 2, being sequels, didn’t manage to make the biggest impact Nintendo could have done with more new Switch exclusives to keep the momentum of their recently released console going.

In Conclusion

Nintendo wasn’t setting the world on fire with its Direct Event this year, but it did go a long way towards reassuring fans while making sure the exclusives it did have were on point. Heading back to the Metroid franchise after many years of absence was widely welcomed, as was the partnership with Ubisoft on Kingdom Battle. But it was Super Mario Odyssey’s gameplay reveal that placed them above Sony and Microsoft this time around.

Conference Grading: 7/10 (Good)

(All images used for the purposes of review and criticism under fair use)

That covers my thoughts on the E3 2017 Press Conferences. For the first half featuring EA, Microsoft and Bethesda click here.

For my final thoughts on E3 2017, click here

E3 2017 Post-Mortem Part 1: Ranking the Press Conferences (First Half)

EA

The good

• A great showing for Star Wars Battlefront 2

Star Wars: Battlefront 2 had a lot to prove, considering how shallow and lacklustre the original was. It was a poor value product rushed out to meet the release of Star Wars Episode VII in 2015. But since its announcement earlier this year, there’s plenty of signs that developer DICE has taken feedback onboard and are committed to delivering the complete package this time around. All three galactic eras and a single player campaign are in the box from the offset and all DLC will be completely free. EA rounded off their press conference with a multiplayer demo, beginning with a tweet from actor John Boyega showing how they took criticism onboard and set out to make the sequel better. From here they launched into gameplay; Assault on the city of Theed on Naboo between droids and clones. Making use of a class system and battle points to call in additional weapons and vehicles, Battlefront also looks set to deepen its gameplay and strategic options, a huge step forward after the casualised original. While some inconsistencies and the return of microtransactions might leave their mark, Battlefront 2 is nevertheless working to make a substantial improvement on the flawed original.

• The return of local coop with A Way Out

Seemingly inspired by Prison Break, A Way Out is a nod to those older titles that focused heavily on closed team play, particularly the likes of Army of Two and Kane Lynch. Supporting full cooperative play both online and off, the range of team based activities including not only the breakout but the escape into the wilderness. Whether it can rise above the stock clichés of TV drama is another story. The developers clearly have some experience in cooperative games, their last title being Brothers: A Tale of Two Sons but at the same time EA’s previous experiment with this style and tone didn’t turn out too well. 2015’s Battlefield Hardline from Visceral Games stood out as incredibly unimaginative, not to mention an overpriced expansion masquerading as a full game. The developers should go beyond the standard fare and work to create a more unique experience that makes full use of cooperative play.

The bad

• More talk of sports games that dragged… again…

Sports games constantly drag down EA in the eyes of the hardcore crowd and 2017 was no different. This year saw a few British commentators drag things out on stage with a quiet audience checking their watches to see when the boring stuff would come to an end. More jargon about the newest FIFA, Madden and NHL games. It’s quickly becoming redundant talking about this every year; but so long as the execs and shareholders want it in the conference, the sports games aren’t going anywhere…

• The incredibly awkward appearance of YouTuber Jesse Wellens

During the presentation of Need for Speed: Payback, Jesse Wellens showed up to have a quote-on-quote “talk”. Sadly, just like the football legend Pele, this was a pointless appearance that dragged the conference out with a desperate attempt to appear hip and cool in front of crowds. While getting FPS streamers in to play Battlefront 2 made some sense, here things were incredibly awkward with both Wellens and the game design lead on Payback stumbling over the script and taking up time that could have been dedicated to other games.

• Little to no appearance of other Star Wars games from the publisher

With a complete monopoly on Star Wars games thanks to a deal with Disney, EA began laying plans to task each of its developers with creating games that would flesh out the franchise across all genres. But outside of Battlefront 2, we didn’t see anything else from the so-called EA Star Wars division. This would have been an opportune time to unveil new titles, particularly the renewed possibility of Knights of the Old Republic 3. It’s a shame that even with their ownership of the Star Wars license, EA seems to be trudging along, letting DICE carry all the weight on their shoulders when it comes to delivering well-produced titles. They should include more details about other upcoming Star Wars games next year.

In conclusion

EA’s conference may not have been the worst of this year’s show, but they didn’t do a whole lot to impress. Outside of Star Wars Battlefront 2, there was very little to get excited about here. The same old boring talk of sports games made a return and some studios such as Bioware were nowhere to be found, instead relegated to a short teaser for Anthem that showed up at Microsoft’s conference instead. It isn’t quite the worst conference this year for me though; at this point, I pretty much expect the same missteps to show up every time, thus lessening their disappointment factor.

Conference Grading: 5/10 (Mediocre)

Microsoft

The good

• A strong variety of games on show

Microsoft’s focus on games above all else has really improved the pacing of their conferences and they stuck with that structure again this year. While I could have done without the endless use of the word “Exclusive” (Which really doesn’t mean anything when all games are coming to PC as well), there was still a lot to choose from. Bigger demos for titles like Middle-Earth: Shadow of War, a fast and frenetic barrage of indie games to show off MS’s commitment to fuelling new talent and concluding with the debut of Bioware’s new IP Anthem all contributed to good pacing. It’s just too bad that none of the software shown is exclusive to the much-touted Xbox One X.

• The return of Crackdown 3 and Sea of Thieves’ tongue in cheek showing

With the cancelation of Scalebound earlier this year, Microsoft needed to put more emphasis on the bigger titles it had left and at E3 2017, it definitely did so. After being missing in action last year, Crackdown 3 returned to the Microsoft stage with a crazy appearance by Terry Crews which went a way towards showing off the manic destruction that will take place. Four player co-op alongside the same orb-collecting level-up system all tied together with a great-looking cell-shaded art style. It’s all looking every bit as fun and addicting as its predecessors, but the addition of destructible environments powered by Microsoft’s Azure engine could push it over the top, allowing 3 to take its place among the best Xbox titles released.

As for Sea of Thieves, developer Rare’s wit and charm shone through in the demo which took the audience through ship battles and exploration. Four players took up the mast, working to search for treasure and sail the stormy seas, each holding different. While the combat looks a bit stiff and shallow, the game still looks intriguing for all its shared world promises. The ability to run into other players on both Xbox One and PC is a strong selling point, and launching yourself out of a cannon to attack the enemy is sure to be a wacky moment in online play. The burning question is whether Sea of Thieves turns out to be another No Man’s Sky; a game with heaps of potential that turns out incredibly lacking on release. With its release date slated for 2018, there’s still plenty of time for Rare to flesh the world and deliver plenty of things to do for players.

• Backwards compatibility for original Xbox games

Microsoft knew it needed to create another incentive to buy an Xbox One, so they patched in backwards compatibility to win over those on the fence a couple years back. Slowly but surely the list of compatible games has grown and the corporation went a step further at E3 this year with the announcement that original Xbox games would be coming to the Xbox One. When it launched in 2001, Microsoft’s original system had plenty of hidden gems so it’ll be a good incentive to get more consoles off the shelves. The underappreciated Crimson Skies was the main title on display for backwards compatibility this year but there’s plenty others including Psychonauts, Blinx the Time Cat among others.

The bad

• Games that are already on PC coming to Xbox

This is a trend that started last year; the slow but gradual blend of Xbox with PC and the subsequent loss of its identity as a gaming console. It’s questionable how long the Xbox One X, for all its power, will last when modern PC’s often outclass it. For example, 4A Games’ Metro Exodus looked great at the show, but a rather scripted demo and its release on PC dampened the impact it could have had; the game looked great and all but how does it compare to the format that Xbox has been pairing up with since last year? And so things went for just about every game at Microsoft’s conference. Not a single title was coming exclusively to the Xbox One X; not cross-play with PC, just the Xbox console. It also didn’t help that several games such as Players: Unknown Battlegrounds have already been on PC for many months already. It ended up reducing the impact of Microsoft’s conference, despite their well planted focus on games above all else.

• Minecraft in 4K, not all that exciting

After purchasing it in 2015, Microsoft has worked to refine and expand Minecraft’s long-standing popularity. Cross-play between consoles (With the baffling absence of Sony consoles) was announced which is a positive benefit to bringing console communities together. But then the Super Duper Graphics Pack was showcased putting the block graphics of the popular indie title into a higher resolution. Showing off this pack seemed silly considering Microsoft’s mission to make the most powerful console on the market. Plus, when you consider how modders have already made several updates and improvements to Minecraft’s technical presentation, this announcement landed with a dull thud.

• Forza 7: Same old racer… but with the new Porcshe 911!

Continuing Microsoft’s insistence on pressing on with the same old franchises, FORZA 7 made its debut at E3 2017, only this time with the gimmick of the real Porcshe 911 making an appearance. This gimmicky choice alongside hardly any new features and the inclusion of two racing drivers who weren’t really playing the game on stage didn’t do the new Forza any favours and instead came off as a very unexciting reveal, one brought in to pander to car companies. Does it really have any place at E3? Not really, even if you are shooting for authenticity.

In conclusion

Microsoft seems confident with its new souped up version of the Xbox One but with every passing year, the console has fewer and fewer things to call its own and that trend continued in 2017. They can toss around the word “exclusive” all they like at their pressers but without games that can only be found on the Xbox One X (I’m fairly sure Halo 6 will also come to PC at this point) the system is already at a disadvantage before its release later this year because many will simply buy Microsoft games on their computers. In my opinion, the only reason to purchase an Xbox One X right now is if you can’t afford a super-powered PC. Even with all its processing power, both it and the PS4 Pro are sure to be outdated by PC tech within a year or two. Microsoft’s conference had plenty of games just like it did last year, but it didn’t go beyond that to make a real case for purchasing the Xbox One X.

Conference Grading: 6/10 (Fair)

Bethesda

The good

• Wolfenstein 2: The New Colossus Reveal

After a surprisingly great return in 2014, Machine Games have taken up the reins once again for the next title in the rebooted Wolfenstein series. This time B.J Blaskowicz is heading to a United States firmly under the control of the Third Reich and based on the extended debut trailer, everything we enjoyed about The New Order is here and accounted for; likeable characters to root for, fast and ferocious FPS combat alongside the addition of new facets. B.J hopped aboard a reprogrammed dog to torch Nazi troops with a flamethrower, before delivering grisly justice to an SS officer with help from a fire axe. It’ll be interesting to see just how twisted the US has become in an alternate history 1960s.

• Dishonored: Death of the Outsider Reveal

The Dishonored series has made a great impression over the last five years and that trend is looking to continue with “Death of the Outsider”. This one is likely to be very lore-heavy, homing in on the titular stranger who bestows chosen individuals with unparalleled powers. The idea of this figure meeting his end is enticing enough, but a new leading protagonist alongside the possibility of more creative powers adds even more intrigue. Much like Daud’s tale in the original Dishonored, Death of the Outsider looks set to fill in missing gaps of the story as well, providing a strong value incentive when it finally releases on the 15^th of September.

The bad

• The continued dragging out of Skyrim

For the second year in a row, The Elder Scrolls V: Skyrim made an appearance at Bethesda’s show. It’s a great game but does it really need to show up every conference? Last year was already tired enough with the release of the Skyrim Special Edition and its remastered graphics but now six years after it originally launched, Bethesda is really pushing it. It’s great that the game is coming to Nintendo Switch and VR but is it worth dedicating a whole chunk of your press conference to such an old game? A skin for Link from The Legend of Zelda that could easily be modded in? These announcements all rang hollow at Bethesda’s show this year and stood out in all the wrong ways as Bethesda continues to milk a six-year-old game, rather than pushing forward with new ideas.

• Creation Club and the return of paid mods

Back in 2015, both Bethesda and Valve took a lot of flak from their communities for attempting to implement a side of the Steam Workshop for paid mods, claiming it was a means to pay the modding community for their arduous work and creativity, especially for Skyrim. After an intense backlash, the system was quickly taken offline and the mods remained free to download and use. Now in June 2017, the controversy is making a comeback with Creation Club for Skyrim and Fallout 4. At the press conference, Bethesda announced the new feature which will allow content creators to upload their mods and sell them through an application or website. Some might say that the mods won’t be paid and that the scheme is merely a way for Bethesda to engage with the modding community, creating a seal of quality as it were. But this quickly went south from one of the final shots in the announcement trailer. A small box saying: “Purchase credits” all but confirms that Bethesda will implement a paid system, exploiting the community and take a portion of the profits for themselves. Whether Bethesda will fully engage with Creation Club as a service is unclear, but the decision to make paid mods will undoubtedly divide the modders, especially on the PC scene.

• Very little in the way of fresh new titles

After their break-out debut at E3 2015, many hoped that Bethesda’s standout showing would keep going in the years to follow, but despite having enormous success with their resurrection of classic FPS titles their creative juices are starting to run dry. The return of Quake with the arena based champions already made an impact last year and was expected this time around. Bethesda needs to do more to keep surprising audiences or it won’t have much to stand up to the larger gaming publishers anymore. There was a general lack of excitement from everyone this year, both in the audience and the presenters on stage. Without much to show in the way of new titles, Bethesda could only manage to fall back on its older games, drastically limiting the excitement of its new titles.

In conclusion

Sadly, Bethesda’s third offering at E3 was their most disappointing show by far. There was little in the way of new games, but it was the Creation Club and paid mods rearing their ugly head that really let people down. Wolfenstein 2: The New Colossus was the best title they had on show but outside of that, things didn’t get much better. Bethesda’s focus on continually remastering old games, putting others in virtual reality then charging full price for them and offering little to progress made them easily the weakest of all the companies in 2017.

Conference Grading: 4/10 (Disappointing)

(Images used for the purposes of review and criticism under fair use)

Check back in a few days for the second part of my E3 2017 Press Conference Round-Up…

The Mummy Movie Review

Released: June 9th 2017 (United States)

Length: 107 Minutes

Certificate: 15

Director: Alex Kurtzman

Starring: Tom Cruise, Annabelle Wallis, Jake Johnson, Sofia Boutella, Courtney B. Vance, Marwan Kenzari, Javier Botet and Russel Crowe

The Mummy is the opening chapter for Universal’s Dark Universe, a studio-wide reboot that plans to bring together all the classic movie monsters that made their debut in the black and white era of cinema. Despite bringing a heap of talent to bear, this modern remake comes off as a very limp start.

Taking place in Egypt and England, The Mummy follows explorer/soldier Nick Morton (Tom Cruise) as he searches the desert for any fancy artefacts to sell on the black market alongside his partner Chris Vail (Jake Johnson). In a super random escape sequence from unnamed Middle Eastern militants, Nathan discovers an ancient sarcophagus containing the Princess Ahmanet (Sofia Boutella), who was punished for her dealings with dark magic. On the flight back to England, the curse within the coffin fights back, causing the plane to crash into a rural British village. Strange things begin to occur as Nathan wakes up after the crash and after linking up with a few characters, embarks on a mad dash through England to put a stop to the Mummy’s rampage while also unearthing further mysteries along the way. With too much expositional jargon and a tone that bounces all over the place, The Mummy 2017 edition just doesn’t invest the audience in any major way. Right down to the opening where Russel Crowe jarringly talks to the audience, instead of being immersed you become disengaged with the whole thing. So many different tones make their way into The Mummy but none of them are done very well; the mysteries never become intriguing, the brief comedy is always annoying and even the creepier moments fell short for me.

Bland and boring characters are the name of the game in The Mummy; compared with Brendan Fraser’s rendition, there’s a complete lack of charisma that would get the audience onboard. Tom Cruise throws himself into the action sequences, no doubt about that, but his character really isn’t worth getting behind; just like the film’s tone he swings between a casual rogue and more serious adventurer without any rhyme or reason and sadly, Cruise just can’t nail the latter here. Annabelle Wallis plays the pseudo love interest Jenny Halsey but she’s barely worth talking about. Her character is painfully dull one moment and a helpless damsel in the next. There’s barely any chemistry between Wallis and Cruise, making their bond completely forgettable. Chris Vail as a sidekick is incredibly annoying and the film insists on having him pop up in a way resembling 1981’s An American Werewolf in London. By trying to serve as the comic relief, he comes off as yet another misplaced piece in the film’s composition. Russel Crowe’s Henry is also very weak; he’s mostly there to talk in a sophisticated voice, spoon-feeding much of the plot to the audience, and the eventual reveal for his character feels incredibly tacked on. The Mummy herself fares better at least; at first, she reminded me of the laughable Enchantress from last year’s Suicide Squad but Boutella pulls it off, delivering a weird blend of unhinged rage and seductive mannerisms. Titular character aside though, The Mummy doesn’t do much else to make its characters work, something which won’t bode well for future films.

The Mummy is at least well-produced from a visual standpoint. The action is well filmed, particularly the scene where a storm of grey sand tears its way through London. Its lighting feels very thematic with the bright sun-drenched splendour of ancient Egypt giving way to dark, moody interiors. Combine this with the low-lit Egyptian architecture in the sets and you have an atmosphere that works where the plot and characters fail. The effects on the central villainess are very well handled too, particularly with the idea of her slowly regaining life (and skin) by draining it from others in a particularly grotesque fashion. The music is far from memorable but it fits the central plotline of an ancient evil arising from the ashes well enough. It’s a well edited production but that’s where the positives end.

The Mummy may be competently produced as a summer blockbuster but without good characters or an intriguing story to get behind, many of the things it tries to do fall flat. At best, it’s a mildly competent special effects bonanza and at worst it’s a laughable, half-baked effort desperate for its revival to turn into something larger at the first hurdle.

Rating: 2/5 Stars (Disappointing)

House of Cards Series Review (Season 5)

Released: May 30th 2017 (All Regions)

Created by: Beau Willimon

No of Episodes: 13

Where to Watch: Netflix

Starring: Kevin Spacey, Robin Wright, Michael Kelly, Jayne Atkinson, Neve Campbell, Joel Kinnaman, Dominique McEllogott, Paul Sparks, Boris McGiver and Campbell Scott 

House of Cards returns for its fifth season in 2017, continuing Presidential Frank Underwood and his wife turned vice presidential candidate Claire relentless push for power at any cost.

Picking up with the entrance of terrorism in the lead-up to the 2016 election, Frank (Kevin Spacey) and Claire (Robin Wright) take measures to improve their chances of re-election, not to mention keep possible rebellions in line. With their secretary of state Kathy Durrant (Jayne Atkinson) questioning her loyalties and press secretary Seth Grayson (Dereck Cecil) talking with the press, there’s a lot to keep track of. Can the Underwoods survive? We’re about to find out over the course of another thirteen episodes. On the whole, there’s a lot more frustration and discontent running through the veins of the political elite here. Francis and Claire work to hang on to their power despite obstacles constantly springing up and their Republican opponent William Conway (Joel Kinnaman) gradually grows angrier as his progress towards the Oval Office is obstructed. This struggle to move forward continues with Tom Hammerschmidt (Boris McGiver) and the media as they look for all evidence that could damage President Underwood’s reign. Many elements from previous seasons have been deemphasised as the threat of terrorist group ICO mostly runs in the background and the intervention of the Russian President Victor Petrov (Lars Mikkelsen) is given a lot less screen-time. In some ways, this is an unfortunate turn that makes the fifth season feel a lot more static when compared to the fourth but a few twists and turns along the way, especially towards the end, do keep the momentum going.

Characters are still a strong point for season 5 with Francis once again talking the time to let the audience in on his plans; this time around he often takes a solo approach to his backroom dealings, further fleshing out his attachment and addiction to power while galvanising his desire to hang onto it. Some of Kevin Spacey’s best moments see him standing up to his opponents in the US government, his powerful voice hammering down onto those who would seek to remove him. Robin Wright continues to deliver a good portrayal as well but the biggest disappointment I had was how Claire barely had any moments to break to fourth wall. There was a lot of emphasis placed on her turning towards the camera at the end of season 4 and while Frank still gets his moments, she’s mostly kept in the same role she’s throughout the series. The affair she has with Tom Yates (Paul Sparks) seems to have outstayed its welcome here; while originally the author was brought in to pen a biography of the Underwoods, here it doesn’t really factor into the plot very much, that notion of building a legacy that Frank is hellbent on accomplishing. While Claire and her affair does falter a bit this time around, Leanne (Neve Campbell) has a lot more to do; between saving her own career and complicating things with Doug Stamper (Michael Kelly), the two of them slowly start collaborating more. One of the best characters is the republican campaign manager Mark Usher (Campbell Scott), a genuinely careful and committed advisor who keeps composed under the pressure. He’s one of the more interesting members of the series’ political scene and may have a stronger hand to play as the series goes on.

By taking a more contained viewpoint, House of Cards Season 5 is a decent entry in the series, even if it does have some missed opportunities with characters. The struggle for the White House in a twisted election continues has a lot of weight behind it and every character is feeling the pressure bearing down on them. It’s far from the best season but it will still leave you satisfied.

Rating: 4/5 Stars (Great)

The Old House of Cards: My Thoughts

Taking a trip back to a time of posh accents, primitive text based computers and wiretapping, the old House of Cards first reached British screens in 1990. Since then it’s gone on to be considered one of the best shows made in the UK, not to mention actor Ian Richardson’s most memorable performance. The series is adapted from the book by Michael Dobbs, a former UK politician who took up writing in 1989. He also worked as a feature writer for the Boston Globe through the seventies.

12 episodes make up 12 cards, split up into three parts; The House of Cards, To Play the King and The Final Cut. right from the get-go the 1990 HOC sets itself out as a very compact series, compressing many events into a shorter viewing. On the one hand, some characters get more development than others but on the other it keeps things moving along without any slower moments or diversions getting in the way. In some ways watching the older version felt a bit thin as it goes along briskly. But when it comes to the performances, there are several that impress.

Ian Richardson is fantastic as Francis Urquhart; but unlike his American counterpart, there are some tinges, however small, of a conscience within him. But these are quickly suppressed as he remains dead-set on the task at hand. Addressing the audience still characterises the series but all those little winks to the camera, combined with his catchphrase “You might very well think that; I couldn't possibly comment” set the British perspective apart. As things progress, the series starts to include nations outside the UK towards the end and we learn more about Urquhart’s darker secrets. At a BBC radio interview in 2002, Richardson said: “Without the opportunity of having played Francis Urquhart, I would be the same jobbing actor that I was before”. Urquhart’s cohort Stamper (played in this version by Colin Jeavons) gets more screen-time in the second part, making equal use of blackmail and verbal persuasion rather than violence to get his way. Then there’s Commander Corder played by Nick Brimble, a towering, imposing figure willing to do anything his master asks at a moment’s notice. These three performances set out Francis’s government as an unyielding one, with an air of conspiracy lurking underneath.

While the more adult moments aren’t nearly as explicit as the newer version, they have a serious level of creepiness to them. Urquhart first courts young journalist Matty Storin, a woman three times younger than him who calls him “Daddy” as things go on. This, mixed with the stare Richardson gives to the camera creates an incredibly uncomfortable mood. Despite being released over two decades ago, the series still has themes that tie into the modern political scene; the use of scapegoating on terrorists to cover up the Prime Minister’s real deeds and the notion of game theory between Francis and his rival the King (Who stands in for the American version’s Donald Tusk). The press also plays a role, with leaks and classified tapes lurking in the underbelly of Urquhart’s government and scrutinising their performances on the national stage. Strangely enough, the first part of the UK trilogy aired two days before the 1990 Conservative Party Leadership election, perhaps a nod to author Michael Dobb’s previous time with the UK political party.

It lacks the deeper character arcs of its modern counterpart but 1990’s House of Cards is still a worthwhile distraction if you’re looking to find where Beau Willimon’s Netflix hit takes its inspiration from, especially with Ian Richardson’s outstanding performance.

Wonder Woman Movie Review

Released: June 1st 2017

Length: 141 Minutes

Certificate: 12A

Director: Patty Jenkins

Starring: Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Ewen Bremner, Said Taghoumi, Elena Anaya and David Thewlis

Since its inception in 2013, DC’s live action renditions have struggled to gain ground, juggling too many characters and plot threads in a bid to keep up with the competition. After several missteps with Warner Bros’ lofty ambitions, Wonder Woman takes the studio to heights not seen in half a decade, becoming the new standard to beat for future films in its cinematic universe.

Travelling a century into the past, Wonder Woman/Diana Prince (Gal Gadot) lives peacefully among the all women tribe of Amazonians, created by the Greek God Zeus on the island of Themyscira. She grows up on tales of justice and hope, training to be a warrior under the watchful eye of her mother Queen Hippolyta (Connie Nielsen) and her aunt General Antiope (Robin Wright). When American Spy Captain Steve Trevor (Chris Pine) crashes into their island, she journeys to the human world to put an end to the injustice and suffering brought about by World War One. As an opening to one of the most recognisable characters in comics, WW keeps things straightforward and simple; you get a real sense of Diana rising beyond her roots and the narrative rarely leaves her side. When Wonder Woman finally arrives on the European battlefields, the film pulls you into her mission with a viciously thrilling action scene; you believe in her conviction as her character has been built up so brilliantly. The only gripe I had with the plot was a final act twist that could have had more build-up and mystery surrounding it. Other than that, Wonder Woman hums along at a great pace, never lingering on one plot component for too long while also providing a healthy amount of development when it comes to origin stories and the world they inhabit.

DC has had some problems with its characters recently but Wonder Woman goes a long way towards breaking that trend. Having been given the spotlight after an all-too-brief appearance last year, Gal Gadot owns the titular heroine here. She’s a fearless warrior and the actress (alongside the other Amazons) brings real physicality yet it’s often Diana’s disconnect from the world of man that makes her so interesting; over the course of the film she makes several realisations and discoveries against the backdrop of World War One that really drives home her goals and resolve. It’s made even better by the bond she forms with Steven Trevor, a calm yet understated spy who’s just as capable in his skills as Diana is. The camaraderie that grows between Diana, Steve and the rest of their company has just the right amount of nuance to it; their characteristics are light-hearted but never distract from the central plot and characters. The bridge between the Amazonians and humans gives way to a few comedic moments and misunderstandings and the writing works in the different tones very well. The cast is rounded off by David Thewlis, whose accent and position within the British ranks anchors the film into its time period and while the villains may be fairly weak by comparison, their motivations still feed into both the setting and Wonder Woman herself.

Wonder Woman moves away somewhat from the rough and grim look of its predecessors, resulting in a far more appealing film all-around. It all starts with colour, literally; the film’s opening bursts into life with a lush, idyllic island paradise that contrasts heavily with the grotty war-torn environments of humanity. Yet even when the setting changes to the middle of a grey industrialised London, there’s still plenty of personality to be found. Detailed sets and costuming wear their authenticity proudly and when the action kicks off, phenomenal destruction effects and a heap of slow-motion effects bring a serious weight to it all along with the seamless editing and direction. But WW also has some more tender moments as well; the wartime setting gives way to more sombre, thematic moments that reflect the harsh nature of the conflict. These in turn, tie themselves into the central character, resulting in a commanding hold on the viewer’s attention. The music takes Diana’s roaring main theme introduced in Batman V Superman and escalates it while also layering quieter pieces around the plot. Because of its scaled-back approach and further charm, Wonder Woman makes a bigger impact than other entries in the DC Universe.

Wonder Woman is simply the best live-action DC film since Christopher Nolan’s Dark Knight Trilogy. It doesn’t do much to shake up the superhero genre, nor is it out to prove a point. The film simply does what it does to a fantastic standard, delivering a sense of charisma, gusto and substance that the DC Extended Universe has been sorely lacking. They keep this up and we’re sure to see some brilliant things from WB’s movie roadmap.

Rating: 4.5/5 Stars (Brilliant)