Tag Archives: adventure

Movie Review: Oz the Great and Powerful [2013]

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Oz the Great and Powerful [2013]

Oz the Great and Powerful [2013]
Director: Sam Raimi
Screenplay: Mitchell Kapner & David Lindsay-Abaire
Genre: Adventure/Family/Fantasy
Starring: James Franco, Michelle Williams, Rachel Weisz, Mila Kunis
Running Time: 130 minutes

Oz the Great and Powerful begins with a wonderful black-and-white prologue. In 1905, a hack magician named Oscar Diggs (James Franco) performs a small-time circus act in between trying to shag the local women. He flirts with the wrong girl, however, and ends up running for his life. Diggs (also known by his stage name, Oz) escapes in a hot air balloon, only to get sucked into a nearby tornado. Somehow this tornado takes him to the Land of Oz, and it is here that the film pans out to full technicolor, bringing this magical new world to life.

Oscar, confused but grateful to no longer be in danger, wanders around his new surroundings before meeting the witch, Theodora (Mila Kunis). She believes that Oscar is actually the wizard that has been prophesied to return and overthrow the Wicked Witch, and she brings him to meet her sister, fellow witch Evanora (Rachel Weisz). They send him to the Dark Forest to destroy the Wicked Witch’s wand, but he discovers that this witch is not so wicked after all — she’s actually Glinda the Good Witch (Michelle Williams). Now Oscar finds himself caught in the middle of a battle between the two sides, all while being forced to masquerade as the powerful Wizard of Oz.

Oz the Great and Powerful [2013]

As a film, Oz the Great and Powerful is likely exactly as you might expect it to be. It works well as a kid’s film — Oscar meets some crowd-pleasing fantasy characters on his way, including a china doll and a flying monkey — though its 2+ hour running time might be a burden for some little ones. The Land of Oz is colorful and vibrant, and the Munchkin inhabitants of Emerald City are sure to be a hit (despite having a very small role). In this regard, the film succeeds.

However, it’s hard not to expect more in the hands of director Sam Raimi. The characters are hardly interesting. James Franco makes Oz come across as a total sleazeball, and it’s hard to buy in to the fact that he has any ‘good’ values underneath. Michelle Williams and Rachel Weisz do well with their material, but Mila Kunis is completely out of her element as Theodora. Kunis isn’t given much to work with, but her performance is devoid of any real emotion.

Oz the Great and Powerful [2013]

I also noticed some issues with the CGI — there were multiple occasions where the actors’ interactions with the artificial characters were completely off (i.e. Franco trying to shake the china girl’s hand but there being a noticable gap in between). For a film with a budget north of $200 million, these quirks are inexcusable.

And so goes Oz the Great and Powerful, a superficially pretty film without any real depth. Judging from my audience’s reaction, the kids seem to be digging it, so the film has that going for it. It’s just a shame that it isn’t as magical as it could have been.

6/10

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Video Game Review: Oddworld: Stranger’s Wrath HD [PS Vita]

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Oddworld: Stranger's Wrath HD [PS Vita]

Oddworld: Stranger’s Wrath HD
System: PS Vita (HD version also on PS3 and PC)
Genre: First-person/third-person action-adventure
Publisher: Electronic Arts
Developer: Just Add Water
Release Date: December 18, 2012

Oddworld: Stranger’s Wrath HD is an upscaled version of the 2005 Xbox title of the same name. In this, you play as The Stranger, a Clint Eastwood-esque bounty hunter — complete with poncho! — who is looking to raise some cash for a life-saving surgery. In order to get this money, he visits various towns to accept bounty contracts, most of which have high payoffs for bringing back the bounties alive (though they pay well for dead captures, too).

Gameplay consists of both first-person and third-person shooting, and the transition between the two is seamless. Instead of using the L2/R2 buttons (which don’t exist on the Vita), a simple double tap of the front touch screen will move between the two views. The third-person view is critical for advancing between areas, as the Stranger will plop down on all fours and run extremely fast. Switching to the first-person view opens up the gun-play, with standard controls like many other shooters.

Oddworld: Stranger's Wrath HD [PS Vita, 2012]

As this is an Oddworld title, weapons are anything but conventional. The Stranger’s main weapon, the crossbow, can use several different types of ammo, all of which are actually live creatures. Boombats, zap flies and stunkz are just a few of the different types of critters that can be hunted and captured as live ammo, and each one has its own unique characteristic. Some work as rockets, some work as cannon balls, and others are used to stun and knock enemies down. As such, there are enough options to suit multiple styles of play, though most will likely find two or three types that they will want to use exclusively.

The game takes place in a relatively large world full of weird little anthropomorphic characters. Many of the towns are inhabited with chicken-like creatures — their ridiculous voice acting never ceases to amuse me — and they will give you helpful hints if you get stuck. In fact, it’s near impossible to get lost, as pushing the square button will prompt the Stranger to remark on what he’s “gotsta” do next. Another handy Stranger function is the ability to beat his chest in order to heal himself (this is done by pressing the triangle button rapidly). He’s quite a handy little character, and he makes a good central protagonist.

Oddworld: Stranger's Wrath HD [PS Vita, 2012]

Most of the game revolves around finding and acquiring bounties, but just as this becomes repetitious, the story goes in a completely different direction and introduces an all-new set of allies and foes. This is a refreshing twist, even if the final act relies more heavily on shooting than ever before.

For $15, Stranger’s Wrath HD offers a lot of bang for its buck. The campaign can last anywhere from 15-20 hours, and it’s a fun ride throughout. The game is incredibly well-suited for the Vita as well, as it is easy to pick up and play in short bursts, and the HD graphics look pretty damn slick on the OLED screen. If not for the dated CGI cut-scenes, this would blend in perfectly as a brand-new title.

On a system starved for shooting games, Oddworld: Stranger’s Wrath HD stands tall. There certainly isn’t anything else like it on the Vita.

8/10

Movie Project #2: Stagecoach [1939]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

Stagecoach [1939]

Stagecoach [1939]
Director: John Ford
Screenplay: Dudley Nichols, Ben Hecht
Genre: Adventure/Western
Starring: John Wayne, Claire Trevor, Andy Devine, John Carradine, Thomas Mitchell
Running Time: 96 minutes

Reason for inclusion: I finally watched my first John Ford/John Wayne film, The Searchers, at the end of last year’s project. Rather than just stop there, I thought it would be a good idea to see another classic from them.
Accolades: Seven Oscar nominations (two wins — Best Music, Scoring and Thomas Mitchell for Best Supporting Actor), rated the ninth greatest Western of all time by the American Film Institute, inclusion on Roger Ebert’s Great Movies list

Well, I guess you can’t break out of prison and into society in the same week.

Stagecoach is a film of many firsts. It is director John Ford’s first sound Western, his first collaboration (of over 20) with John Wayne, and his first Western shot using the gorgeous Monument Valley of the Southwest. The film is also widely considered to have single-handedly elevated the Western into respectability. Nearly 75 years later, Stagecoach still stands as one of the finest of the genre.

Although John Wayne is inarguably the biggest name on the bill, he is merely just one of many who are given equal footing here. The film tells the tale of nine strangers, all of varying backgrounds, who are riding in a stagecoach together through dangerous Apache-infested territory. There’s Dallas (Claire Trevor), a prostitute who is driven out of her hometown by a catty group of ladies that dub themselves the “Law and Order League.” There’s Doc Boone (Thomas Mitchell), an alcoholic doctor who would be excellent at his job if he could just stay sober for a minute. There’s a pregnant woman, Lucy (Louise Platt), who is heading west to be with her injured soldier husband. Other travelers include a whiskey salesman (Donald Meek), an embezzling banker (Berton Churchill), a Confederate gambler (John Carradine), a U.S. Marshal (George Bancroft) and the stage driver (Andy Devine). Then, of course, there is John Wayne.

Stagecoach [1939]

Wayne plays the role of The Ringo Kid, a fugitive who is picked up by the Marshal on charges of murder. Even though he is a criminal and escaped convict, we never get the impression that Ringo is a bad man. He never puts up a fight against the Marshal; instead, he seems more interested in making sure this stagecoach — namely, the women — make it to their destination safely. Wayne plays this character in a way that only he can, and he makes for a great hero in a carriage that badly needs one.

That isn’t to say the other characters are worthless. The prostitute Dallas (of whom Claire Trevor’s performance was actually given top billing) does well in the face of adversity, even as the others treat her as if she were a leper. The Marshal is a handy man with his gun, and even ol’ Doc Boone proves to be an asset, even if he is forced to down copious amounts of black coffee to sober up in a crucial time of need.

Stagecoach [1939]

In many ways, Stagecoach feels like a road movie, and it has a big payoff near the end. The Apaches — portrayed as nothing but savages, unfortunately — make their first appearance and begin chasing down the stagecoach. The ensuing action scene is nothing short of remarkable, even when viewed today. There are visual stunts that simply would not be attempted anymore, including one death-defying moment where an Apache is knocked off a horse directly in the path of the stagecoach and the other running stallions. By all accounts, the stuntman seemed to be okay, but holy hell that looked dangerous.

Stagecoach runs at a brisk 96 minutes, and there is never a dull moment to speak of. The film has excellent pacing; because of this, it could stand as an excellent introduction to the Western genre. John Ford, John Wayne, a memorable cast of characters and an outstanding action setpiece — what else is needed?

9/10

 
Bonus trivia: Orson Welles famously stated that he watched Stagecoach over 40 times while filming Citizen Kane.

Video Game Review: The Walking Dead [Xbox 360]

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The Walking Dead: The Game

The Walking Dead
System: Xbox 360 (also on PS3, PC, Mac OS X, iOS)
Genre: Point-and-click adventure
Publisher: Telltale Games
Developer: Telltale Games
Release Date: Throughout 2012

The last time I cried was at my father’s funeral five years ago.

There have been times since then where I would get choked up, particularly after some painstakingly depressing films (i.e. Grave of the Fireflies), but nothing has made the tears really start flowing. I don’t like crying, and I have a tendency to fight it even when it feels like a natural reaction. After completing The Walking Dead, once again I found myself holding back tears, albeit less successfully this time. No video game has ever come close to evoking this type of emotion in me.

It’s funny, I shouldn’t even like The Walking Dead. I tried watching the AMC TV show of the same name, and found it embarrassingly amateur. I gave up after the first season. I’m also burnt out on the whole “zombie” fad, as it reached the point of over-saturation long ago. Yet I found myself drawn to Telltale’s episodic video game series. It grabbed a hold of me and refused to let go.

The Walking Dead [Xbox 360]

My initial plan was to review each of The Walking Dead‘s five episodes individually — I wrote about numbers one and two last year — but it began to grow tedious. How could I possibly write about each episode without using spoilers? There are groundbreaking revelations within each episode, with characters coming and going at a breakneck pace.

At its core, however, two characters remain constant: Lee and Clementine.

Lee is the player-controlled protagonist who essentially “adopts” Clementine, the eight-year-old he finds alone in a treehouse during the first episode. With her parents missing, Lee becomes something of a father figure to the young girl (later episodes even give the option of introducing her as his daughter). The relationship between these two grows with every moment, and I found myself doing everything I could to protect her.

Every episode forces Lee to make crucial decisions, most of which offer two choices that essentially equate to “bad” and “worse.” After my playing sessions, I found myself questioning some of my choices. Should I have saved a different character’s life? Should I have really stolen food from that car? I tried to do everything in the interest of Clementine — in a world that has gone to hell, the only important thing was to help this little girl survive.

The Walking Dead [Xbox 360]

In reality, that’s what The Walking Dead is about: survival. It’s near impossible to trust anyone else because that is ultimately their goal as well. Everyone is looking out for their own interests, as well as their families. Relationships are often forged but remain shaky as tensions flare up.

I was emotionally drained by the end of the game. This series really puts you through the ringer, never letting up at all. It’s fantastic storytelling, and it’s unlike any other found in a video game so far. The writing is excellent, the voice acting top notch, and the characters unforgettable.

I had never felt the way I did upon completing The Walking Dead. I wasn’t sure that video games as a medium could evoke that type of reaction out of me — hell, very few movies have, and I have seen a lot of ‘em. For this alone, The Walking Dead is one of the most important games to come out in 2012, and I have absolutely no reservations about calling this the Game of the Year.

10/10

Movie Project #48: Lawrence of Arabia [1962]

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Due to the surprising success of my initial Movies Project, I decided to do a part two for 2012. This time around I put a greater emphasis on directors I am not familiar with, but I also tried to compile a mix of different genres and eras. This will be an ongoing project with the finish date being sometime this year.

Lawrence of Arabia [1962]

Lawrence of Arabia [1962]
Director: David Lean
Writers: T.E. Lawrence (writings), Robert Bolt, Michael Wilson
Genre: Adventure/Biography/Drama
Starring: Peter O’Toole, Alec Guinness, Anthony Quinn and Omar Sharif
Running Time: 216 minutes

The word “epic” is thrown around a lot these days, especially when it comes to film. Just this year alone, Cloud Atlas, The Hobbit and The Dark Knight Rises were recipients of this buzz word. But if there were one film to truly deserve the “epic” moniker, it would be Lawrence of Arabia.

Arguably the most intimidating entry in my project — largely due to its nearly four hour running time — I waited until just the right time to finally see the film. Thanks to this year being the 50th anniversary of its release, a fully restored version has been making its way around select theaters nationwide. As such, I spent my Christmas evening at my favorite cinema, the Music Box Theatre, taking in Lawrence of Arabia on the big screen as it was meant to be seen.

Lawrence of Arabia [1962]

The film tells the story of T.E. Lawrence (Peter O’Toole), a man who I knew little about beforehand. Set during World War I, we follow along as Lawrence rises from being an eccentric British Army lieutenant to an improbable leader of the Arab revolt against the Turks. The journey there is anything but conventional.

Lawrence befriends a number of desert leaders along the way, including Sherif Ali (Omar Sharif) and Prince Feisal (Alec Guinness). He earns their trust and respect thanks to his noble actions. In one pivotal moment, the Arab group notices a man has fallen off his horse quite a ways back. While the general consensus is that it is too risky to go back for him, Lawrence takes matters into his own hands and rides back alone. He emerges, a small blip in the seering desert horizon, no longer alone, but with the man clinging to his back. This response cements Lawrence’s status as a leader, and soon the Arabs become even more accepting of him.

Lawrence of Arabia [1962]

The fact that Lawrence is able to emerge as a crucial figure in the Arab revolt is nothing short of fascinating. He is anything but a traditional military hero, and it’s easy to see why director David Lean wanted to film his story. Peter O’Toole, in his first leading role, delivers an unprecedented performance as Lawrence, bringing about an unusual form of charisma. He is enigmatic, a rebellious figure who is also a bit effeminate. He’s a man of action, and some of his behavior near the end of the revolt is startling.

The supporting cast is phenomenal as well. Omar Sharif plays a key role as Lawrence’s main compatriot in the desert, with Alec Guinness and Anthony Quinn also performing admirably as important Arab leaders. On the British side of the spectrum, Donald Wolfit and the always reliable Claude Rains play military and political leaders, respectively. Arthur Kennedy makes an appearance as an American war correspondent, looking to make Lawrence out to be a hero. Special mention should be made of José Ferrer, who is only in the film for five minutes but is a driving force in one of the most memorable scenes.

Lawrence of Arabia [1962]

Perhaps the most important figure in Lawrence of Arabia is the desert itself. The cinematography by F.A. Young is simply amazing, and the landscape is used to maximum efficiency. Several scenes show the sun beaming down on those below, with long, sweeping shots that show just how minuscule humans are in the grand scheme of things. An especially memorable moment happens when Sherif Ali is introduced. At first, we see a tiny dot in the distance. In the hazy heat, it’s difficult to tell if there is actually something there or if it is an illusion. Slowly but surely, the small dot grows bigger, and it isn’t too long before Ali enters the scene. What happens next is unexpected, but this moment perfectly encapsulates just how daunting these massive deserts truly are. I can’t recall another film that so effectively uses Earth’s own natural beauty.

Lawrence of Arabia was nominated for ten Academy Awards, winning seven of them (including Best Picture, Best Director and Best Cinematography). It’s one of the most widely recognized films of all time, with unanimous praise from most. The accolades are more than deserved, as this is a near flawless work of art. As of this writing, the film is still being shown in a handful of theaters. If it’s playing anywhere near you, this is a cinematic viewing experience you must not miss.

10/10

PC Game Review: To the Moon [2011]

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To the Moon [2011]

To the Moon
System: PC
Genre: Adventure, Visual Novel
Publisher: Freebird Games
Developer: Freebird Games
Release Date: November 1, 2011

It’s always interesting when a new game comes out that tries to do something different with the medium. With last year’s indie hit, To the Moon, actual gameplay was basically scrapped in favor of telling an emotional story. Many fell head over heels for this, and it even won “Best Story” in Gamestop’s 2011 “Game of the Year” awards. It’s clear that the game struck a nerve for most. Unfortunately, it seems everyone is grading on a curve here because of the medium and not for the actual quality of the game.

To the Moon tells the story of a dying old man who has a lifelong dream to go to the moon. In a setting not unlike that of Eternal Sunshine of the Spotless Mind, there is a company that allows artifical memories to be constructed, letting its recipients live out their dreams. Two employees of Sigmund Corp. — Dr. Eva Rosalene and Dr. Neil Watts — are sent to help this old man get his one wish.

To the Moon [2011]

In order to do so, they have to go back through his actual memories in reverse chronological order by picking up “mementos” along the way. This allows the scientists to learn about the man’s life while discovering exactly why he wants to go the moon. Without getting into spoilers, it isn’t a happy story, as the old man has suffered from a number of traumatic events throughout his life. In fact, by the end, this becomes a bit of a tragedy, with a few scenes included specifically to tug on the ol’ heartstrings. Unfortunately, these big reveals feel forced, and I felt little empathy for the old man, who wasn’t much of a likable fellow.

The game’s dialogue, mostly between the two scientists, is laughably bad. Neil, in particular, is a poorly-written character who acts incredibly immature — to the point of sheer annoyance. The writing is full of weak attempts at humor, as well as references to internet slang and acronyms that will surely be dated in a few years. In short, it comes across as amateur, and it is a significant cut below the films and novels that undoubtedly influenced it.

To the Moon [2011]

As for the actual gameplay, there is little. It mostly consists of walking around different areas in the old man’s life, talking to characters and picking up random “mementos” throughout. There are also half-assed attempts at sliding puzzles between each stage of his life, and they never increase in difficulty. There are a few diversions here and there, such as a brief “whack a mole” mini-game and a segment that involves riding a horse, but they just feel tacked on, and they add little in terms of entertainment.

While I am willing to overlook certain gameplay limitations if there is a good narrative to back it up, To the Moon lacks in both areas. It’s clear the emphasis here is on the story, but it cannot hold its own when compared to other dramatic works. Are we so starved for quality plot devices in video games that we are willing to grade anything resembling something different on a curve?

To the Moon [2011]

I will give the game credit for its aesthetics. Despite using the dated RPG Maker engine, the 16-bit graphics work well in this setting, and I enjoyed the throwback to days gone by. The original music score is beautiful and fits with the game’s more serious moments wonderfully, even if the title theme is played a bit much.

I hate to talk down an indie game, especially one that tries to differentiate itself from the rest, but To the Moon doesn’t come close to reaching the stars it so desperately seeks. The in-game writing, highly praised by most, would get laughed at in any other medium, and the actual gameplay is far too simplistic. At a brief four hours, at least the game doesn’t overstay its welcome.

5/10

Movie Review: Life of Pi [2012]

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Life of Pi

Life of Pi [2012]
Director: Ang Lee
Genre: Adventure/Drama
Starring: Suraj Sharma, Irrfan Khan and Adil Hussain
Running Time: 127 minutes

Ang Lee’s Life of Pi is a lot of things — beautiful, visually impressive, ambitious, and ultimately, shallow.

The film tells the story of Pi Patel and his unbelievable life, as presented by a middle-aged Pi (Irrfan Khan) to a writer looking for new material. Pi recounts his days as a child, when he would humorously take in bits from several religions to create his own vision. His parents owned a zoo in India, and all was well until his father decided to sell everything and move to Canada. On the ensuing voyage, a nasty storm destroys the ship, sending humans and the wild animals onboard flying violently into the middle of the ocean. The teenage Pi (Suraj Sharma) finds himself separated from everyone else, somehow ending up alone on a boat with a Bengal tiger named Richard Parker.

Life of Pi [2012]

This is the segment of the film that most will recognize beforehand. Yes, Pi is stranded in the Pacific Ocean with a tiger, and yes, this represents a good chunk of the film. My initial concerns, having not read the novel that this is based on, were that this would be a wild fantasy in which the tiger is made to be a cuddly feline rather than the dangerous predator it really is. Thankfully, that is not the case here, as Pi is very much afraid of Richard Parker, and the tiger is ill-concerned with befriending a human.

The problem here is that there is little suspense during this segment. During the beginning of the film, we are shown the middle-aged Pi as he sits down to talk to the writer. There is nary a scratch on him, or any evidence that he had survived a traumatic experience like this shipwreck. As such, we know right away that he will survive this endeavor, and the tiger feels much less threatening as a result. This lack of impact is especially noticeable once the ending hits, when a revelation suddenly threatens to make the film all for naught. The climax also laughably spells out Pi’s final statement a second time for the audience, just in case it wasn’t clear the first time around.

Life of Pi [2012]

Early in the film, the middle-aged Pi boldly states that his story will make the writer believe in God, thereby making us (the audience) do the same. While Pi’s story raises some interesting questions regarding faith and the structure of beliefs, he is greatly overstating his tale. Those expecting a groundbreaking revelation would be better served looking elsewhere.

Even though Life of Pi falls short of its lofty ambitions, it’s impossible not to bask in its sheer beauty. This is one visually stunning film, aided immensely by some of the best CGI that I have ever seen. The tiger fits in seamlessly on board, and the young Sharma plays off of it perfectly. The shipwreck scene is loud, boisterous and frightening — especially when seen in 3D. I would be shocked if this doesn’t get an Oscar nod for Best Visual Effects (and Best Cinematography, for that matter).

It’s a shame that there isn’t a more meaningful story underneath Life of Pi‘s alluring outer shell. Ang Lee deserves credit for bringing this novel to life with a vision like only he can, but a weak conclusion dampens what is already an anticlimactic adventure.

6/10

Movie Review: Skyfall [2012]

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Skyfall [2012]

Skyfall [2012]
Director: Sam Mendes
Genre: Action/Adventure/Crime
Starring: Daniel Craig, Javier Bardem, Judi Dench, Ralph Fiennes, Naomie Harris
Running Time: 143 minutes

I feel as if every Skyfall review should come with a preface stating the writer’s level of James Bond fandom. I am a novice to the series, a “rook” if you will, as I have only seen a grand total of three Bond films — the very first two with Sean Connery (Dr. No and From Russia With Love) and Daniel Craig’s first outing (Casino Royale). I enjoyed all to some degree, but I wouldn’t quite call myself a fan — yet. With Skyfall, I feel myself being drawn back into the universe, one that seems more exciting now than ever.

In this dark and rather bleak entry in the series, Bond is not quite as invincible as one might expect. Played to perfection by Craig, 007 is now old, broken down and even vulnerable. When MI6′s headquarters are blown up by the despicable villain, Raoul Silva (Javier Bardem), the British agency and its head, M (Judi Dench), are forced to rely on the rickety frame of Mr. Bond to save the day.

Silva presents a great challenge for them, as he always seems one step ahead with every move he makes. He is an excellent villain — he has superior hacking skills, a seemingly endless group of goons at his disposal, and he has an entire bombed-out island all to himself. Javier Bardem, mildly ludicrous blonde hair and all, excels in the role, making for a dangerously strong adversary despite his physical deformities.

Skyfall [2012]

When it comes to Bond films, I am always most fascinated by the exotic locations, and Skyfall does not disappoint. From the thrilling opening car chase scene through the streets of Turkey to a brutal hand-to-hand combat sequence in a Shanghai skyscraper, there is no shortage of eye candy. The Shanghai scene, in particular, is visually stunning with its black silhouettes and flashing blue lights. A later visit to the gorgeous Scottish countryside also shows off the talents of cinematographer Roger Deakins (who also worked with director Sam Mendes on Jarhead and Revolutionary Road).

The action set-pieces are flashy and loud, and for the most part this is a white-knuckled ride that rarely lets up. Since this is the 50th anniversary of Bond, there are nods and homages to every single film in the series. As a newcomer to the series, I obviously missed many of these, but I got a kick out of hearing the audience cheer in delight when some of the more obvious throwbacks were shown. Diehard Bond fans — most of whom likely saw this opening weekend — will certainly appreciate these tributes, subtle or otherwise.

Skyfall [2012]

In many ways, Skyfall is similar to The Dark Knight Rises. Both films are centered around a hero who has seen better days, one who has hit rock bottom and has to work his way back up to help save the day. Both delve a bit into their backstories; in Skyfall, we learn a little about Bond’s origin, something that I greatly appreciated. There’s even a wink at the end of both films in which a familiar character is revealed in an ode to the future. It’s an interesting thought — Skyfall simply wouldn’t be the same if it were not for The Dark Knight trilogy.

The bottom line here is that Skyfall is one of this year’s best action films, and being a Bond fan is not a prerequisite in really enjoying this. There are a few moments that could have probably been omitted — and surely a few of the groan-worthy one-liners could have been improved — but I can’t recall many trips to the theater this year that were quite as exciting. Count me in for the next one, Mr. Bond.

8/10

Video Game Review: The Walking Dead, Episode 2: Starved for Help [PS3]

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The Walking Dead, Episode 1: A New Day [PS3]

The Walking Dead, Episode 2: Starved for Help
System: Playstation 3 (also on Xbox 360, PC, Mac and iOS)
Genre: Adventure/Horror
Publisher: Telltale Games
Developer: Telltale Games
Price: $4.99 ($19.99 for PS3 season pass)
Release Date: June 29, 2012

I didn’t think it would happen so quickly, but I am becoming pretty damn attached to the characters in The Walking Dead episodic games. At just two hours in length per episode, the story continues to surprise with plenty of character development and gut-wrenching twists and turns. Whereas A New Day set the table for things to come, Starved for Help shows just how bleak the ongoing zombie outbreak really is.

Set three months after the first episode’s events, Lee, Clementine and the rest now find themselves running dangerously low on food and supplies. Just as they reach the end of their stash, a couple of guys show up at the motel looking to exchange food for gasoline. They claim to have a safe haven: they own a huge dairy farm that is protected by an electrified fence. They even have a cow to provide them with milk. Could this be the group’s big break?

I won’t get into plot specifics, but Telltale did an excellent job at dropping hints about what’s to come while also building the suspense. I wasn’t sure what to expect as the episode played out, but the payoff was fantastic.

The Walking Dead, Episode 2: Starved for Help [PS3]

As per the first episode, Lee is presented with six “Tough Decisions” that are crucial to the story development. The first one happens right away, and this gruesome encounter sets the tone for the rest of the game. By the end, I was ashamed of my final two choices, and I was tempted to go back through and try a different way. But alas, this is my Walking Dead experience, and I am going to see it through with my original decisions in tact.

It really says something when a game can make you feel such moments of despair and regret based on a single decision. This story continues to grow darker and darker, and I am excited to see where it goes from here. Per usual, the episode ends with a cliffhanger, as well as a preview of what’s next.

The Walking Dead, Episode 2: Starved for Help [PS3]

The point-and-click gameplay is the same as before, and it works well in the context of this episode. There are occasionally some slight hiccups when the framerate stutters a bit, but these do not hinder the experience.

Naturally, this is a must play if you have completed A New Day. This episode is even better than the last, and it has seriously raised my expectations for the rest of the series. Decisions seem even more critical now, and the story is moving along at a nice clip. If you haven’t experienced The Walking Dead yet, now is the time.

9/10

Movie Project #35: O Brother, Where Art Thou? [2000]

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Due to the surprising success of my initial Movies Project, I decided to do a part two for 2012. This time around I put a greater emphasis on directors I am not familiar with, but I also tried to compile a mix of different genres and eras. This will be an ongoing project with the finish date being sometime this year.

O Brother, Where Art Thou? [2000]

O Brother, Where Art Thou? [2000]
Directors: Joel and Ethan Coen
Genre: Comedy/Adventure/Crime
Starring: George Clooney, John Turturro, Tim Blake Nelson, John Goodman and Holly Hunter
Runtime: 106 minutes

O Brother, Where Art Thou? is one of those films that just slipped through the cracks for me over the years. I remember the soundtrack being a hot commodity — and damn that bluegrass is infectious — but never sat down to watch the entire movie. It’s a shame that it took me twelve years to see this because this is yet another ridiculously fun effort from the Coen brothers.

Set in 1930s rural Mississippi and loosely based on Homer’s “The Odyssey”, the film follows the exploits of three escaped convicts who are in search of hidden treasure. The trio, comprised of de facto leader Ulysses Everett McGill (Clooney) and his two pals, Pete Hogwallop (Turturro) and Delmar O’Donnell (Nelson), run into all sorts of trouble on their journey. Not only are they constantly chased by the law, they also have a habit of becoming entangled in other unexpected endeavors. They form a bluegrass group — the Soggy Bottom Boys — with a young black musician named Tommy (Chris Thomas King), and as a result somehow get caught up in a political race as well as a KKK rally. The group also comes across undesirable characters including a trio of “Sirens”, a one-eyed bible thumper (Goodman) and a bipolar bank robber named George Nelson (Michael Badalucco).

Oh yeah, and in the middle of this, Ulysses is trying to get back with his estranged wife, Penny (Holly Hunter). It’s a wild ride for sure.

O Brother, Where Art Thou? [2000]

At its core, O Brother, Where Art Thou? is a road movie, and we are there for the entire epic adventure. The aforementioned run-ins with other characters lead to a number of memorable scenes, many of which are so ridiculous that it’s hard not to fall in love with them. Of course, the addictive soundtrack adds even more to the overall film, and even non-bluegrass fans should enjoy the catchy tunes. Even as I sit here writing this review, I have “Man of Constant Sorrow” stuck in my head. That’s a good thing.

Clooney, Turturro and Nelson make for an entertaining trio, and they play off each other fantastically. Clooney’s natural charisma makes him the obvious choice for the leader of the group, but I was most impressed with Nelson’s humorous slack-jawed yokel of a performance. The overall cast is amazingly well-rounded, with great takes from Goodman, Hunter and my personal favorite, Stephen Root, who plays a blind radio station manager that gives the Soggy Bottom Boys their big break.

O Brother, Where Art Thou? [2000]

While some may find fault in how O Brother, Where Art Thou? sometimes feels like a collection of short films thrown together as one, there’s no denying that this is uproarious fun from beginning to end. The Coen brothers have a knack for these zany comedies, and the script is full of brilliant, quick-witted dialogue. I had a great time with this film, and I get the feeling that this is one that just gets better with age.

8.5/10