Fantastic Beasts and Where to Find Them Movie Review

Released: 18th November 2016 (UK and United States)

Length: 133 Minutes

Certificate: 12A

Director: David Yates

Starring: Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Colin Farrell, Jon Voight, Ezra Miller and Ron Perlman

Five years after the original series concluded, David Yates and JK Rowling have returned one of the most popular fictional works of all time to the big screen with Fantastic Beasts and where to find them, a spin-off prequel that delivers plenty of enjoyment but sits below the older films.

Taking place in the 1920s, Fantastic Beasts follows magizoologist Newt Scamander (Eddie Redmayne), who arrives in New York to document and track down creatures in the city. Things get off to a tricky start as mishaps involving aspiring baker Jacob Kowalski (Dan Fogler) at a bank cause several of his creatures to be released, risking the ordinary muggle world (or no-Maj as they’re referred to in the States) finding out about magic. Newt is apprehended by demoted Auror Tina Goldstein (Katherine Waterston) and from here a darker situation unfolds as a deadly black mass threatens to consume everything in the bustling settlement. The film certainly doesn’t stray far from its predecessors; it moves along at a suitable pace, giving plenty of wonder, light-hearted comedy and rapid action sequences. It doesn’t come without some speed bumps though; the final act is quite predictable, once again falling into the same cliché of a monster about to destroy the city. There are also several scenes that don’t really contribute anything to the overall plot and many of the themes touched upon end up feeling superficial at best. The most glaring of these is the Magical Congress of the United States, an equivalent to the Ministry of Magic in previous films, which has a minimalistic role; playing this off with the political undertones from Jon Voight’s role as the father of a US Senator could have provided much more depth. Considering the film’s efforts to set up a new universe across the pond from Hogwarts, this is quite the missed opportunity.

All four central characters in Fantastic Beasts are very well-realised, with subtle, yet intriguing hints pertaining to their pasts that occasionally creep into the narrative. Redmayne plays Newt incredibly well; there’s an intense curiosity about him that wraps the audience up into his work, particularly in a scene concerning the inside of his briefcase. Kowalski is always capably amusing as he discovers the wizarding world and the opposite approach taken with Goldstein and her ditsy sister Queenie (Alison Sudol) is worked to solid effect. However, problems creep their way into the side characters. Colin Farrell (as high ranking Auror Percival Graves), Carmen Ejogo (as the Magical Congress President) and Jon Voight go by underused and so too do many of the non-majis outside of Kowalski. The villains are incredibly weak too with relatively basic characteristics that fail to add to the film’s setting; in the film’s opening moments we learn that a dark wizard known as Grindlewald is on the loose, but his build-up just can’t manage to instil a foreboding presence in the audience. It’s something else that the film is no doubt keeping back for future entries.

The new outing for the Harry Potter series continues the franchise’s proficiency in special effects; creative imagination is at an all-time high here as a variety of wacky, fascinating creatures come alive; combine this with an increased scale on magic use and you have one of the more visually extravagant films in the series to date. Buildings are trashed, sparks fly in magic duels and more sinister elements, especially in the film’s final moments, feel appropriately dangerous. Pulling and twisting through the action deftly, the camerawork is always on point while the music keeps in line with previous entries with a more delicate touch; at times, it reminded me of 2005’sThe Polar Express with its emphasis on wonder and discovery. As a period piece, Fantastic Beasts is no slouch either; detailed costume work and set design work in tandem to transport the audience into its setting, something ripe for expanding upon.

Fantastic Beasts is ultimately very well produced, marking it as an accessible prequel. You don’t need to get into the previous works to understand it and everything you loved about the original film series is still here; likeable characters, superb special effects and extensive intrigue, sprinkled with a helping of adult sensibilities. It’s burdened by a set of odd scenes, characters and themes that never quite manage to slot nicely into the overall plot; perhaps over the next four films we’ll see this rectified.

Rating: 3.5/5 Stars (Good)

Aliens Movie Review

Released: July 18th 1986

Length: 137 Minutes

Certificate: 18

Director: James Cameron

Starring: Sigourney Weaver, Michael Bein, Carrie Henn, Lance Henriksen, Paul Reiser, Bill Paxton, Jenette Goldstein, William Hope and Al Matthews

Ridley Scott’s chilling contribution to sci-fi horror was a massive success and word of a sequel floated around through the first half of the eighties. Coming seven years after the original film, Aliens was given the greenlight after 20^th Century Fox was impressed by a script written by James Cameron, who had achieved success with 1984’s The Terminator. Despite this time gap and a change in director, Aliens more than lived up to the 1979 classic.

Aliens continues the story of Ellen Ripley (Sigourney Weaver), the sole survivor of the Nostromo vessel who first encountered the terrifying organism. Ripley is shocked to find out that she was drifting endlessly in hyper sleep for 57 years; her daughter Amanda has died of old age and on top of that her flight license is revoked after Weyland-Yutani company executives don’t believe her story about her sinister ordeal. A full-blown settlement has been established on the planet LV-426 in Ripley’s absence but when contact is lost with the colonists, company representative Carter Burke (Paul Reiser) alongside Lieutenant Gorman (William Hope) of the colonial marines ask her to come along as an advisor. At first Ripley is incredibly hesitant but eventually agrees. The film makes use of a fantastic build-up, introducing the audience to the futuristic soldiers while also laying down hints that the cocky platoon clearly has no idea what they’re in for. A careful suspense is crafted as we’re introduced to the colony of Hadley’s Hope; there’s a serious creepiness to the place with evidence of a battle having taken place. Once the action finally roars onto the scene, it never lets up; with a feeling of impending danger, not to mention the sheer number of Aliens crawling all over the place. The final act is a thrilling dash where the central motive of the Xenomorphs is finally revealed in a suitably stomach-churning fashion. Suffice it say, there is no down-time in Aliens and the pitch-perfect pacing, combined with the unrelenting tension commands the audience’s attention all the way through.

The characters in Aliens are just as fleshed out and interesting as they were in the original and a shift in genre brings a new set of characteristics and mannerisms. Ellen Ripley begins the film suffering constant nightmares from her traumatic encounter in the first film, but as the marine operation goes from bad to worse, she’s the one who rises to the challenge, taking her fears head-on in the process. It’s one of the standout character transformations in the genre and Sigourney Weaver’s excellent performance solidifies Ripley as one of the best woman warriors in all of film. The marines are no slouch either with each having their own engaging quirks that play off each other very well; this is especially true of Private Hudson (Bill Paxton) who gets the wackiest lines and the tough-as-nails Vasquez (Jenette Goldstein). I especially enjoy the more collected mannerisms of Corporal Hicks (Michael Bein) and the calculating prowess of the android Bishop (Lance Henriksen). The young, traumatised Newt (Carrie Henn) is another great character and the bond she forms with Ripley is easily the strongest emotional anchor point of the film. Ultimately the film puts a lot of emphasis on the bonds between characters, whether it’s the camaraderie between the marines or the motherly ties between Ripley and Newt which has the audience consistently invested in their struggles.

Aliens features a flurry of excellent special effects that really make its world come alive while also working to expand on the original film’s potential. The production teams headed up by Stan Winston and the late composer James Horner really outdid themselves, resulting in an outstanding showcase of practical special effects. The sets, creatures, weapons and vehicles were all carefully hand crafted, making occasional use of miniature models and stop motion to great effect. While the foreboding rain and dark lighting are instrumental in building the atmosphere, the grotesque creatures and the filthy hives they inhabit are certainly the highlight of the sets with industrialised structures clashing against ugly organic material. The hand-crafted design of the film has ensured an iconic status, one which adds many interesting components to the film’s lore and universe while also carrying over into its Vietnam subtext. The marine’s overconfidence in their technical advantage and the way the marine dropship is modelled after the AH-1 Cobra helicopter are just two examples of this. The soundtrack to Aliens is phenomenal, delivering both a slow suspense and an explosive punch in every action sequence; without it the film would lose much of its action-packed edge.

Aliens is an absolutely superb sequel and one of the best science fiction films of the eighties; it expertly picks up what the original established, flips the switch to action and unleashes a barrage of viciously thrilling moments that will leave any audience floored, or at the very least, huddled in their seat.

Rating: 5/5 Stars

(As a side note, I was lucky enough to watch Aliens as a live performance with a full on orchestra at the Royal Albert Hall in London as part of its thirtieth anniversary. It was an immensely powerful experience with the soundtrack hammering into the audience and pulling them into the film, perhaps even more than the latest sound systems. I’d highly recommend it as the hall will be doing similar shows for other films including ET and Titanic)

Doctor Strange Movie Review

Released: 28th October 2016 (United Kingdom)

Length: 115 Minutes

Certificate: 12A

Director: Scott Derrickson

Starring: Benedict Cumberbatch, Rachel McAdams, Chiwetel Ejiofor, Benedict Wong, Mads Mikkelson and Tilda Swinton

The less well-known, but thoughtful Doctor Strange makes his debut in this latest offering from Marvel; while it isn’t such a radical departure from the norm, it is still an intriguing take on the superhero genre.

Doctor Stephen Strange (Benedict Cumberbatch) is a brilliant but egocentric neuro-surgeon who loses the use of his hands in a car accident; desperate to regain the function of his most precious assets, Strange journeys to Nepal, only to be drawn into a realm of parallel universes far beyond his comprehension. Strange marks itself as one of the more fascinating tales spun in the Marvel Cinematic Universe; as the main character delves into the realm of the mystic, the audience is taken along on that journey, making the narrative continuously engaging. The source material is very solemn and collected, creating a focus on the mind and spirit, but Doctor Strange also mixes in a modern sense of humour and just like other films in the series, it makes great use of this tone to break up the more serious moments. Doctor Strange is also incredibly smart with its blending of science and spirituality, twisting, turning and colliding both in surprising ways. On the one hand, Strange believes in the application of physical skill and mental knowledge but he then begins to understand that the mind has another facet based in careful concentration. As a result the film’s settings, plot and lore come together to form an intoxicating ride.

The characters of Doctor Strange all have plenty of dimensions to them and very well defined characteristics. Benedict Cumberbatch is brilliantly cast as the Doctor; there’s a balanced mix of humour and intellect that slots him seamlessly into the MCU. However this does come at the cost of a worthwhile backstory; it would have added more depth had we seen more detail on how he became a successful neuro-surgeon. Cumberbatch’s closest friend and colleague Christine Palmer (Rachel McAdams) is fairly downplayed and it doesn’t distract from the proceedings while still giving her a role to play. On the other side of reality, Strange’s closest ally Karl Mordo (Chiwetel Ejiofor) is built on duality; he believes in training Strange but also finds his own perspective changing as the film goes on. Benedict Wong is equally well-portrayed, his serious mannerisms bouncing off the comedic relief without ever feeling jarring.Mads Mikkelson plays main villain Kaecilius, whose backstory succeeds at deepening the lore of the mystics while also bringing a suitably threatening presence to bear. Lastly, there’s Tilda Swinton who takes on The Ancient One, one of the better mentor characters in the series so far; a collected yet committed woman who oozes just as much intrigue as the world she inhabits. The key line: “Forget everything you think you know” is a key aspect, the characters all conveying a theme of questioning things and thinking outside the box and this is a far more intelligent theme than anything the studio has done before.

Doctor Strange could well be the best looking film that Marvel has ever put out in recent years; the thoughtfulness that hangs over the film puts a new spin on the well-established trend of city destruction seen in its contemporaries. Fans of more mind-bending films will definitely be reminded of 2009’s Inception here as the environments shape-shift from one form to another with barely a moment to breathe. Add to that different dimensions and the bending of locations and you have an air of unpredictability that hooks into the action sequences. It’s an exhilarating ride that doesn’t falter for a second. Buildings fold, twist and break apart to form new structures and occasionally time itself slows or stops, allowing the audience to suspend their disbelief. The soundtrack has an air of science fiction to it, creating another elegant technical component. Doctor Strange is also one of few films that can join the likes of Avatar and How to train your Dragon with its superb use of 3D; it is used to truly make its alternate dimensions come alive and the strongest highlight of this is towards the end where a fantastic looking climax shifts in and out of reality with great precision.

The uncanny yet dazzlingly entertaining Doctor Strange is another sure-fire hit from Marvel. It takes a more calculated approach to the superhero genre and while the central character could have been introduced a bit better, the incredible special effects and fascinating narrative are more than enough to pull you into its world.

Rating: 4.5/5 Stars

Controversy Clocking Episode 8: Review copies and the manipulation of game criticism

Reviews are a major component in the gaming industry, mostly due to their ability to affect purchases and in turn make a marked impact on profits for companies. They also take far longer to consider and produce than any other piece of media due to the many components that make up a game. In this follow up to my episode on “The Finger of Suspicion and outrage over game reviews”, further measures have recently been put in place to diminish and affect the way information on the quality of games is written and delivered to the masses.

The gaming industry is a sector where developers and publishers hold all the cards when it comes to marketing and selling their products. If a reviewer calls out a company’s practices or gives a lower score, they’re added to the blacklist (Most recently with Jim Sterling being labelled a “Wild Card” reviewer by big publishers). If a game is broken on release, a version is created that presents the game as running perfectly well. If a game has microtransactions or some kind of pay-to win aspect, these components are locked off from mainstream reviewers until the game is launched. It’s all tailored towards keeping the pre-orders and profits as high as they can be while misleading the consumer based on a hype cycle that continues to be impervious to major criticism.

The latest case of developers purposely disrupting this flow of information to suit their own ends is Bethesda, who recently put out a statement saying that their review copies would be given to the press just one day before release. They already pulled a similar move with the Doom reboot earlier this year over concerns that the lukewarm reaction to the game’s multiplayer beta would impact sales. According to Bethesda’s statement, users should wait for reviews and explains that they want reviewers and consumers to get into their games at the same time. Unfortunately, in the gaming industry this is impossible; no matter how many disappointing games are released there will always be those who fall for the hype and put down their money too soon.

There’s an endless obsession with getting your hands on a game as fast as possible and playing it before everyone else. In that sense, this latest move plays on the consumer’s distaste towards the gaming media who get to play upcoming games early for free. When looking at the pre-order bonus for the upcoming Dishonored 2, players are able to get into the game a day before release if they put down their money before the official release date of November 11^th; in other words they can take on the media in a sense by having the game first and it’s this kind of pandering that will feed even more into the negative cycle of hype and pre-order culture that has dogged the industry in recent years.

By restricting its games to reviewers in this way, Bethesda’s new policy is very cowardly, showcasing a publisher that refuses to take criticism upon the launch of its products. It will affect two main groups in the following ways…

1. Reviewers both mainstream and third party: Under the policy game critics are given just one day to play the game’s modes and collect their thoughts and this is nowhere near sufficient enough to form a credible impression. There’s a tendency to gloss over specifics such as multiplayer performance, random bugs and glitches and the examination of specific modes in their entirety. There’s a pressure to slap a score on a title and put the review out more quickly to take advantage of clicks and advertisement revenue to pay the bills which will degrade the quality of game criticism as a whole.

2. The consumer: The flow of information regarding the quality of an upcoming game will be drastically cut down, making consumers far less informed and more susceptible to purchasing titles without having the proper information beforehand. The companies get your money before the reviews come out and the potential impact they could have (Based on quality information) are neutered. Therefore, publishers and developers who put out poorly made or exploitative games receive few ramifications for their unethical decisions.

As a result, Bethesda’s recent statement feels very contradictory; it’s hardly based on their so called “valuing of game reviews” and instead looks to quell negative criticism that could affect their bottom line in profits. Inaccurate and rushed game reviews have a lower chance of convincing the consumer that their game isn’t worth buying at launch. With them being such a well-known company, it’s easy to see other big name developers and publishers taking a similar step to quell any kind of criticism that could affect pre-order levels and profits right before the game releases. This controlling move from Bethesda can only serve to increase the effectiveness of misleading advertising and shoddy pre-order tactics because there will be fewer obstacles to get in their way.

The Wave Album Review

Released: 14th October 2016

Published by Island Records

After over fifteen years as the leading voice of Keane, Tom Chaplin has struck out on his own with “The Wave”, a meaningful and fiercely passionate contribution to post-brit pop.

The often underrated Keane have had a presence in UK music since 1995; Chaplin joined the band in 1997 and his strong singing voice was a key component to their success across four major album releases. The band remains on hiatus as of 2013, but Tom has aimed to keep a more active role on the music scene, producing “The Wave” with Matt Hales of Aqualung fame.

Chaplin’s debut record feels both grounded and emotional, borne from a set of personal experiences and beliefs; every song is flavoured with a sense of rooted poignancy while also boasting an extremely creative set of rhythms and instrument compositions. The way the songs are layered (And Chaplin’s own album commentary) represents a journey; “Still Waiting” and “Hardened Heart” open the album with a sense of being trapped in darkness but as the track list progresses, there’s a sense of hopefulness that builds up. “The River” and “I remember you” look to the past, conveying a sense of personal understanding.

Further down the list, beginning with the powerful “Bring the Rain”, a more positive tone begins to take shape, a sense of looking at the positive things in life; “Quicksand” is an echoing tribute to the power of parenthood whereas “See it so clear” puts across a sense of acceptance. The self-titled “The Wave” is the perfect close to the album, making use of trumpets to give an impactful send-off. When taken as a whole package the overall theme of Chaplin’s lyrics is the notion of rising up and bettering oneself after hard times, something which stands tall across the entire album; every song is beautifully layered to show this. Because of this, “The Wave” stands out as a highly uplifting album.

By setting itself apart from his previous work and pouring in all his heart and soul, Tom Chaplin’s The Wave is an immensely heartfelt blend of reflection and change with every track taking equal advantage of resonant themes alongside a powerful voice that always leads the way.

Rating: A

The Nintendo Switch Reveal: My Thoughts

On October 20^th 2016 Nintendo’s NX was finally revealed as Nintendo Switch and it’s an interesting direction indeed. I had been disappointed by Nintendo’s showings this year; most notably their refusal to unveil their latest system at E3 in July. The reveal trailer has come quite late, considering the system will be launched in March 2017, which may be down to Nintendo’s brightest sitting in their test labs trying to make a console that will bring the company back into the game after the Wii U’s disappointing performance. Just like many moves it has made over the past three decades, Nintendo is aiming to set itself apart from the rest of the pack. In this case it appears to have refined the Wii U somewhat, turning the tablet controller into a second display while making its control scheme more traditional and straightforward; its key selling point is a fully portable system that can be taken and used anywhere. In essence, it's being viewed as a hybrid of handheld and console gaming.

The console looks incredibly easy to use with an interchangeable controller shifting from a traditional game-pad to smaller bolt-on units at a moment’s notice. By default the system will allow for quick and easy two player gaming; it’s probable that having two Switches in close proximity will increase that number further. The display is also interchangeable; it can either be plugged into a standard HD television or become a display unit itself much like a tablet, the controllers connecting to the sides. Both components of the system make a strong step towards engaging the casual crowd who just want to plug in and play without worrying about lengthy setups or installation processes. Like other mobile devices, there’s sure to be a set of applications for the Switch, including Netflix which will fill the gap for a multimedia device.

However the portability of the system may also be its greatest weakness; can Nintendo deliver a step up in power that can deliver those key third party titles? According to NVIDIA the Switch will run on a Tegra processor, a component used in mobile technology. While these are the fastest mobile processors on the market, running high end software from third parties may be a challenge. If it can run games close to the level of its biggest competitors, the Switch and its “take anywhere” focus will be an easy sell for hard-core gamers. There was also little to do with online multiplayer and connectivity in the trailer other than the likely integration of the street pass feature seen on the 3DS handheld. Nintendo needs to get up to speed with its online networking service and offer more features to match those on both the PC and its fellow consoles or they won’t be able to hold the full attention of the hard-core for long. The advertising message also needs a bit of fine-tuning; it isn’t lacking clarity like the Wii U was in 2012 but showing games like The Elder Scrolls V: Skyrim and NBA 2K17 on the device when they haven’t been confirmed yet doesn’t bode well for marketing.

How can the Switch succeed when it launches next year? For starters Nintendo must break their long-standing stigma of being the “kiddie” system and to do that the Switch needs plenty of third party support that lasts all the way through its lifestyle, rather than drying up after the first year. EA, Bethesda and Activision have all apparently signed up to support the system (Though no specific announcements have been made as of yet) but they will not hesitate to pull their investments if the console doesn’t do well enough in its first year.

One of the final points in the trailer hints at a greater focus on e-sports for Nintendo; two teams are seen connecting the Switch on a grand stage to play a match of Splatoon. This could be another positive step in getting Nintendo up onto the same level as Sony and Microsoft. If the Japanese company pours more resources into games which can be played competitively then they would be able to give their Nintendo World Championship events much more prominence in an event landscape filled with the likes of MOBAs and other long established titles. Currently Nintendo’s three major multiplayer focused games are Super Smash Bros, Mario Kart and Splatoon alongside classics from older systems but they could definitely need to add a few more to the roster to make their competitive gaming ventures more diverse and engaging.

If the Switch doesn’t sell enough, Nintendo’s time in the hardware business will be over. Right now they aren’t too far from where Sega was with the Dreamcast at the turn of the millennium; a potentially solid and affordable console, but will it be enough to win over the crowd and continue to compete in the market? The PlayStation 4 and Xbox One are both technical powerhouses which have firmly established themselves with a large library of games. Nintendo’s approach with the Switch is offering something different while also playing to its strength in local play. There’s certainly a hint of their portable success with the Switch as well and in the way the system can be unplugged and taken anywhere allows Nintendo to compete with mobile gaming. All eyes will be pointing to the eventual technical spec reveal, March 2017 launch and the launch titles (Most notably The Legend of Zelda: Breath of the Wild) to give the Nintendo Switch a solid start out of the gate.

(All images used for the purposes of review and criticism are the property of Nintendo and the respective EuroGamer YouTube channel)

Young as the Morning, Old as the Sea Album Review

Release date: 23rd September 2016 (UK)

Published by Nettwerk and Black Crow

“Young as the Morning, Old as the Sea”, the latest album from English artist Passenger continues the singer’s trend of simple, classical tunes.

Michael Rosenberg struck out on a solo career in 2009, keeping the name of his previous band; but it was “All the Little Lights” in 2013, specifically the wildly popular “Let her go” that stamped him onto the music scene. “Young as the Morning, Old as the Sea” doesn’t stray far from this tone which gives fans of the singer a perfectly serviceable offering.

The overall tone and theme of the album is very humble and reflective, moving away from the chirpy guitar riffs of All the Little Lights in favour of slower, methodical tracks; the music videos also reflect this, taking place in the midst of beautiful, solitary landscapes from the UK all the way to New Zealand. A sense of yearning for journeying and the need calm reflection is also a key focal point. YATMOATS has a widespread implementation of string instruments which compliment Passenger’s acoustic foundation very well but these hang over most of the album, resulting in a composition that feels quite samey. Often the songs alternate between acoustic and string leads with the one exception being “Anywhere”, a cheerful folk track about traveling to far off places. The vocals are also suitably subdued, again keeping in line with Passenger’s previous works. One of the more soothing pieces; a collaboration with Birdy on the aptly titled “Beautiful Birds” connects the two artists brilliantly. To close out the album, a tender piano slides into “Home” which also manages to add an additional dimension to an otherwise standard track list. Of all the tracks on the record though; “Somebody’s Love” is definitely the most heart-warming piece to listen to with a sonnet like mannerism to it.

The seventh major release from Passenger is a fairly safe album which relies on a main formula without much in the way of deviation. Many of the songs do blend together which holds it back from being as varied and listenable as previous releases. It could have used a better balance between subdued and lively tones to create a stronger package overall.

Rating: C