4400 (2021), S1E03, “That LaDonna Life”

The 2019 Charlie’s Angels Reboot Was A Good Project & Deserved More Respect From Hollywood

We’ve just finished watching the film and there was a lot both J and I really enjoyed about it. We’re critical of media and art in different ways and I certainly don’t speak for them, as for me, oddly I’m lenient in ways that they probably aren’t when it comes to production and culture. I don’t have to dive too deeply into the cultural response to this picture to know how it went down, I’ve come into contact with just enough of it to have a clear understanding of the popular digest. The response is not at all unexpected, it’s just uninformed.

I feel that the 2019 (year of publishing) Charlie’s Angels reboot was a good project with a wonderful spirit. Elizabeth Banks’ aims were clearly evident in the final product, however it may have been shaped along the way, and that it was under-served in the production process likely from the very beginning.

This casting is fantastic.

I do wish there were better cast-ensemble promos for me to lift from the internet and wonder whether that’s another telltale sign of production or whether the heat has just faded since release and they’ve just dropped out of the archives but I struggled to find well composed images.

The first short sizzle-teaser I ever saw for the film, I thought was quite good. Neckbeards and mouthbreathers won’t have paused for a second thought before launching hate for the project - anything in the most vague proximity of feminism or empowerment of women, or even simply just not being centred around men - will be enough to bring snide internet snark by the truckload. It remains interesting that men continue to struggle to live in a world where there can be things that also exist that are not for them, they cannot simply let these other things also exist without contributing in some way. As it were, the project looked good. Sharp, clever, playful, and a timely reboot reclaimed in the most contemporary way. When I looked up the production details and found out Banks was championing it herself, I really took an interest in it. As the first full trailers released, the casting looked great - genuinely diverse and with real chemistry, I hoped it would find the audience it was looking for.

J and I have had a lot going on in our lives over the last two years and still do. We’ve gone to theatres I think twice in that whole time, maybe three times and I think two of those were gift certificates generously paid for by family. So tonight we finally got around to watching Charlie’s Angels. If we’d seen this in theatres, I’d have still be satisfied and had the same evaluation.

A production budget of $55 million is low-balling a project of this scope; 

There seems to have been a bit of pre-production shuffling and Banks did a lot of wrangling herself early on. 

The whole shoot front to back was just over two months and I assume three countries, US/or studio inclusive. 

CGI is noticeably subpar but not exactly cheap either, so it still would have cost a significant portion of that prod. budget. When I say subpar, the CG in this film isn’t bad, please don’t take that criticism as overly negative of the CG artists’ work - remember that people do the best they can with the time and money they’re afforded. If you want to understand what that’s all about, I encourage you to watch Corridor Crew’s channel on YouTube.

Combat choreography with principle actors isn’t great, there’s far too much editing but again, I’m betting there wasn’t a whole lot of money and thus time for training and rehearsing for them, so combat is noticeably slow. 

2nd Unit photography looked very good because this kind of thing is very old-school Hollywood in that it contributes to what makes an action/spy movie look like one. Unfortunately, that means it was also expensive. We’re really running out of money here...

There is a lot of licensed music in this feature which isn’t cheap at all. Again this feels super old-school Hollywood and definitely demographic targeting, but it firmly timestamps the feature - any film, really - and unless your film is about capturing the essence of the time IT WAS THE 80′s! or FOLK FESTIVALS JUST BEFORE COVID BROKE OUT as an example of not necessarily wanting to capture the past, I really think trying to nail down pop songs of the hot present ultimately does your film a disservice.

And I’ll address that one first because I feel like it may have been one of the easiest changes to make to lift the overall quality of the picture. Instead of burning thru an immense amount of budget on a pile of pop licenses, I think a calculated risk could have been taken in getting a young contemporary musician to create a slick electronic score in its entirety to back it along side the generic orchestral action fare, no disrespect to Brian Tyler. To be honest, Tyler probably could have done it all himself but was also probably just writing to spec. BUT HEY... WHY NOT SCOUT FOR ANY NUMBER OF AMAZING WOMEN OUT THERE WHO ARE PHENOMENAL ELECTRONIC MUSICIANS AND PRODUCERS what am I talking about it’s Hollywood...

This is what I mean by the project deserving more respect and being under-served. Hollywood doesn’t believe in projects like this, they don’t realise what the project is and why it needs frontier, sincere, good faith hiring and instead under-funds but funds it nevertheless SEE? WE FUNDED IT, WE DID THE GOOD THING, SEE US SUPPORTING THE WIMMINS? WE’RE NOT  SEXISTS YOU CAN’T SAY WE’RE SEXISTS YOU CAN HAVE YOUR FILM oh it didn’t do very well except we didn’t let you make it the way you wanted to make it, we still shackled you to 

THE SAME TERRIBLE HOLLYWOOD TRADITIONS THAT, BY THE WAY, ARE FAILING OUR MANLY MAN MOVIES FULL OF MEN HOLY SHIT THE DEBT-RECOVERY CYCLE IS REALLY DOING A NUMBER ON OUR INVESTORS I SURE HOPE WE DON’T HAVE TOO MANY CONSECUTIVE FAILURES OR, SAY, SOME KIND OF GLOBAL CATASTROPHIC AND/OR ECONOMIC EVENT HAND-WRINGING

ahem where was I

Trent Reznor and Atticus Ross provided the entire soundtrack for The Social Network and it’s both fantastic and timeless. OK oranges and refrigerators, but the principle still stands - I get the intent of Charlie’s Angels was a summer blockbuster but it would have still been elevated by being all the more slick having its own identity in music, having its own sound. You want that soundtrack by that amazing young woman because it sounds fucken awesome.

Charlie’s Angels still needed a few passes by a dialogue editor. I say that a lot. I know my standards are high and it’s a Hollywood film. There’s no problem at all with the vernacular, idioms and the casual language, that was all fine. It’s always just the little details - again, it’s always time and money which - really is just money. A good dialogue editor or script supervisor might have been able to just elevate this whole thing to that super-smooth level of flowing just right. Or perhaps if the actors had spent more time in training and combat rehearsal together, they’d have riffed better and improvised more. They still have good on-screen chemistry but again, more time - more money for time - and things improve.

If you don’t know my taste in film, you could see if you recognise anything in the Film Notes page of this journal, but it’s totally OK if you don’t. Basically most of them are long and boring, with super long takes of people not saying or doing much. I still love Hollywood films tho - I love all cinema and I’ll repeat like a broken record, I should either add a section to Film Notes of my favourite blockbusters or create a page for them. Anyway - Charlie’s Angels still has too much editing mostly due to the aforementioned combat, but also because of that good old Hollywood formulaic style-guide. It’s easy to look up the production credits and pluck out names but on a project like this, it’s difficult to pin the end result on the roles themselves. In these cases, personnel like editors are more like daily jobs rather than creative contributors which again is an immense shame. I catch myself before saying “It doesn’t have to be a Malick/Shortland/Lynch project...” but why not? Why can’t a summer blockbuster have its own fantastic identity? General audiences can identify Michael Bay and Christopher Nolan - sure, one or perhaps both of these people take themselves far too seriously, but why not let a project have its own identity?

We run back into the conversation of protecting investments and style guides.

The easy answer to Bay and Nolan is they’re men, but they’ve also had time to prove their worth over time with previous work and track record. Because they’ve had the privilege to do so. Because they’re men. And most of the people making decisions and letting them experiment and sometimes fail to recover investment on their projects and hey, don’t worry, just try again, are men - and they were permitted to try again because they were themselves men.

Whether individual men do or don’t deserve whatever they did or didn’t get, I’m not here to discuss. Many of them definitely didn’t and I can’t change it.

What we should be changing is how we finance, how we empower and how we hand over autonomy of projects to women in cinema, in the arts - in professional life, in any industry.

YOU DON’T KNOW THE DETAILS OF THIS PROJECT

So. Fucking. What.

I can make educated guesses and I can support as much as possible as fair and equitable an arts industry wherever I engage with it.

I really liked Charlie’s Angels. It had a lot of heart. It had a wonderful sense of play and sass and smarts. Yes, a few too many “why didn’t they just shoot the bad guy” moments etc. - again - script reviews, better writers, more time...

More money.

More respect from an industry that doesn’t respect women and women’s autonomy; social, professional, in all aspects.

I hope Elizabeth Banks wants to make another one, can raise the finances for it and has even more control of the next project. More power to her.

2018 in Movies - My Top 30 Fave Movies (Part 1)

30.  MANDY – easily the weirdest shit I saw in 2018, this 2-hour-plus fever dream fantasy horror is essentially an extended prog-rock video with added “plot” from Beyond the Black Rainbow director Panos Cosmatos. Saying that by the end of it I was left feeling exhausted, brain-fried and more than a little weirded-out might not seem like much of a recommendation, but this is, in fact, a truly transformative viewing experience, a film destined for MASSIVE future cult status. Playing like the twisted love-child of David Lynch and Don Coscarelli, it (sort of) tells the story of lumberjack Red Miller (Nicolas Cage) and his illustrator girlfriend Mandy Bloom (Andrea Riseborough), who have an idyllic life in the fantastically fictional Shadow Mountains circa 1983 … at least until Mandy catches the eye of Jeremiah Sand (Linus Roache), the thoroughly insane leader of twisted doomsday cult the Children of the New Dawn, who employs nefarious, supernatural means to acquire her.  But Mandy spurns his advances, leading to a horrific retribution that spurs Red, a traumatised war veteran, to embark on a genuine roaring rampage of revenge.  Largely abandoning plot and motivation for mood, emotion and some seriously trippy visuals, this is an elemental, transcendental film, a series of deeply weird encounters and nightmarish set-pieces that fuel a harrowing descent into a particularly alien, Lovecraftian kind of hell, Cosmatos shepherding in one breathtaking sequence after another with the aid of skilled cinematographer Benjamin Loeb, a deeply inventive design team (clearly drawing inspiration from the artwork of late-70s/early 80s heavy metal albums) and a thoroughly tricked-out epic tone-poem of a score from the late Jôhan Jôhannsson (Sicario, Arrival, Mother!), as well as one seriously game cast.  Cage is definitely on crazy-mode here, initially playing things cool and internalised until the savage beast within is set loose by tragedy, chewing scenery to shreds like there’s no tomorrow, while Riseborough is sweet, gentle and inescapably DOOMED; Roach, meanwhile, is a thoroughly nasty piece of work, an entitled, delusional narcissist thoroughly convinced of his own massive cosmic importance, and there’s interesting support from a raft of talented character actors such as Richard Brake, Ned Dennehy and Bill Duke.  This is some brave, ambitious filmmaking, and a stunning breakthrough for one of the weirdest and most unique talents I’ve stumbled across a good while.  Cosmatos is definitely one to watch.

29.  THE GIRL IN THE SPIDER’S WEB – back in 2011, David Fincher’s adaptation of Stieg Larsson’s runaway bestseller The Girl With the Dragon Tattoo became one of my very favourite screen thrillers EVER, a stone-cold masterpiece and, in my opinion, the superior version of the story even though a very impression Swedish version had broken out in a major way the year before. My love for the film was coloured, however, by frustration at its cinematic underperformance, which meant that Fincher’s planned continuation of the series with Millennium Trilogy sequels The Girl Who Played With Fire and The Girl Who Kicked the Hornet’s Nest would likely never see the light of day. Even so, the fan in me held out hope, however fragile, that we might just get lucky.  Seven years later, we have FINALLY been rewarded for our patience, but not exactly in the fashion we’ve been hoping for … Fincher’s out, Evil Dead-remake and Don’t Breathe writer-director Fede Alvarez is in, and instead of continuing the saga in the logical place the makers of this new film chose the baffling route of a “soft reboot” via adapting the FOURTH Millennium book, notable for being the one released AFTER Larsson’s death, penned by David Lagercrantz, which is set AFTER the original Trilogy. Thing is, the actually end result, contrary to many opinions, is actually pretty impressive – this is a leaner, more fast-paced affair than its predecessor, a breathless suspense thriller that rattles along at quite a clip as we’re drawn deeper into Larsson’s dark, dangerous and deeply duplicitous world and treating fans to some top-notch action sequences, from a knuckle-whitening tech-savvy car chase to a desperate, bone-crunching fight in a gas-filled room.  Frustratingly, the “original” Lisbeth Salander, Rooney Mara, is absent (despite remaining VERY enthusiastic about returning to the role), but The Crown’s Claire Foy is almost as good – the spiky, acerbic and FIERCELY independent prodigious super-hacker remains as brooding, socially-awkward, emotionally complex and undeniably compelling as ever, the same queen of screen badasses I fell in love with nearly a decade ago.  Her investigative journalist friend/occasional lover Mikael Blomkvist is, annoyingly, less well served – Borg Vs McEnroe star Sverrir Gudnasson is charismatic and certainly easy on the eyes, but he’s FAR too young for the role (seriously, he’s only a week older than I am) and at times winds up getting relegated to passive observer status when he’s not there simply to guide the plot forward; we’re better served by the supporting cast, from Lakeith Stanfield (Get Out, Sorry to Bother You) as a mysterious NSA security expert (I know!) to another surprisingly serious turn (after Logan) from The Office’s Stephen Merchant as the reclusive software designer who created the world-changing computer program that spearheads the film’s convoluted plot, and there’s a fantastically icy performance from Blade Runner 2049’s Sylvia Hoeks as Camilla Salander, Lisbeth’s estranged twin sister and psychopathic head of the Spiders, the powerful criminal network once controlled by their monstrous father (The Hobbit’s Mikael Persbrandt).  The film is far from perfect – the plot kind runs away with the story at times, while several supposedly key characters are given frustratingly little development or screen-time – but Alvarez keeps things moving along with typical skill and precision and maintains a tense, unsettling atmosphere throughout, while there are frequently moments of pure genius on display in the script by Alvarez, his regular collaborator Jay Basu and acclaimed screenwriter Steven Knight (Dirty Pretty Things, Locke) – the original novel wasn’t really all that great, but by just taking the bare bones of the plot and crafting something new and original they’ve improved things considerably.  The finished product thrills and rewards far more than it frustrates, and leaves the series in good shape for continuation.  With a bit of luck this time it might do well enough that we’ll finally get those other two movies to plug the gap between this and Fincher’s “original” …

28.  ISLE OF DOGS – I am a MASSIVE fan of the films of Wes Anderson.  Three share placement in my all-time favourite screen comedies list – Grand Budapest Hotel, The Life Aquatic With Steve Zissou and, of course, The Royal Tenebaums (which perches high up in my TOP TEN) – and it’s always a pleasure when a new one comes out.  2009’s singular stop-motion gem Fantastic Mr Fox showed just how much fun his uniquely quirky sense of humour and pleasingly skewed world-view could be when transferred into an animated family film setting, so it’s interesting that it took him nearly a decade to repeat the exercise, but the labour of love is writ large upon this dark and delicious fable of dystopian future Japanese city Megasaki, where an epidemic of “dog flu” prompts totalitarian Mayor Kobayashi (voiced by Kunichi Nomura) to issue an edict banishing all of the city’s canine residents to nearby Trash Island. Six months later, Kobayashi’s nephew Atari (newcomer Koyu Rankin) steals a ridiculously tiny plane and crash-lands on Trash Island, intent on rescuing his exiled bodyguard-dog Spots (Liev Schreiber); needless to say this is easier said than done, unforeseen circumstances leading a wounded Atari to enlist the help of a pack of badass “alpha dogs” voiced by Anderson regulars – Rex (Edward Norton), King (Bob Balaban), Boss (Bill Murray) and Duke (Jeff Goldblum) – and nominally led by crabby, unrepentantly bitey stray Chief (Bryan Cranston), to help him find his lost dog in the dangerous wilds of the island.  Needless to say this is as brilliantly odd as we’ve come to expect from Anderson, a perfectly pitched, richly flavoured concoction of razor sharp wit, meticulously crafted characters and immersive beauty.  The cast are, as always, excellent, from additional regulars such as Frances McDormand, Harvey Keitel and F. Murray Abraham to new voices like Greta Gerwig, Scarlett Johansson, Ken Watanabe and Courtney B. Vance, but the film’s true driving force is Cranston and Rankin, the reluctant but honest relationship that forms between Chief and Atari providing the story with a deep, resonant emotional core.  The first rate animation really helps – the exemplary stop-motion makes the already impressive art of Mr Fox seem clunky and rudimentary (think the first Wallace & Gromit short A Grand Day Out compared to their movie Curse of the Were-Rabbit), each character rendered with such skill they seem to be breathing on their own, and Anderson’s characteristic visual flair is on full display, the Japanese setting lending a rich, exotic tang to the compositions, especially in the deeply inventive environs of Trash Island.  Funny, evocative, heartfelt and fiendishly clever, this is one of those rare screen gems that deserves to be returned to again and again, and it’s definitely another masterpiece from one of the most unique filmmakers working today.

27.  VENOM – when Sam Raimi’s Spider-Man saga came to a rather clunky end back in 2007, it felt like a case of too many villains spoiling the rumble, and it was pretty clear that the inclusion of bad-boy reporter Eddie Brock and his dark alter ego was the straw that broke that particular camel’s back.  Venom didn’t even show up proper until almost three quarters of the way through the movie, by which time it was very much a case of too-little-too-late, and many fans (myself included) resented the decidedly Darth Maul-esque treatment of one of the most iconic members of Marvel’s rogues’ gallery.  It’s taken more than a decade for Marvel to redress the balance, even longer than with Deadpool, and, like with the Merc With a Mouth, they decided the only way was a no-holds-barred, R-rated take that could really let the beast loose. Has it worked?  Well … SORT OF.  In truth, the finished article feels like a bit of a throwback, recalling the pre-MCU days when superhero movies were more about pure entertainment without making us think too much, just good old-fashioned popcorn fodder, but in this case that’s not a bad thing.  It’s big, loud, dumb fun, hardly a masterpiece but it does its job admirably well, and it has one hell of a secret weapon at its disposal – Tom Hardy. PERFECTLY cast as morally ambiguous underdog investigative journalist Eddie Brock, he deploys the kind of endearingly sleazy, shit-eating charm that makes you root for him even when he acts like a monumental prick, while really letting rip with some seriously twitchy, sometimes downright FEROCIOUS unhinged craziness once he becomes the unwilling host for a sentient parasitic alien symbiote with a hunger for living flesh and a seriously bad attitude.  This is EASILY one of the best performances Hardy’s ever delivered, and he entrances us in every scene, whether understated or explosive, making even the most outlandish moments of Brock’s unconventional relationship with Venom seem, if not perfectly acceptable, then at least believable.  He’s ably supported by Michelle Williams as San Francisco district attorney Anne Weying, his increasingly exasperated ex-fiancée, Rogue One’s Riz Ahmed as Carlton Drake, the seemingly idealistic space-exploration-funding philanthropist whose darker ambitions have brought a lethal alien threat to Earth, and Parks & Recreation’s Jenny Slate as Drake’s conflicted head scientist Nora Skirth, while there’s a very fun cameo from a particularly famous face in the now ubiquitous mid-credits sting that promises great things in the future.  Director Ruben Fleischer brought us Zombieland and 30 Minutes Or Less, so he certainly knows how to deliver plenty of blackly comic belly laughs, and he brings plenty of seriously dark humour to the fore, the rating meaning the comedy can get particularly edgy once Venom starts to tear up the town; it also fulfils the Marvel prerequisite of taking its action quota seriously, delivering a series of robust set-pieces (the standout being a spectacular bike chase through the streets of San Fran, made even more memorable by the symbiote’s handy powers). Best of all, the film isn’t afraid to get genuinely scary with some seriously nasty alien-induced moments of icky body horror, captured by some strangely beautiful effects works that brings Venom and his ilk to vivid, terrifying life.  Flawed as it is, this is still HUGE fun, definitely one of the year’s biggest cinematic guilty pleasures, and I for one can’t wait to see more from the character in the near future, which, given what a massive success the film has already proven at the box office, seems an ironclad certainty.

26.  SOLO: A STAR WARS STORY – the second of Disney’s new phase of Star Wars movies to feature in the non-trilogy-based spinoff series had a rough time after its release – despite easily recouping its production budget, it still lost the $100-million+ it spent on advertising, while it was met with extremely mixed reviews and shunned by many hardcore fans.  I’ll admit that I too was initially disappointed with this second quasi prequel to A New Hope (after the MUCH more impressive Rogue One), but a second, more open-minded viewing after a few months to ruminate mellowed my experience considerably, the film significantly growing on me.  An origin story for the Galaxy’s most lovable rogue was always going to be a hard sell – Han Solo is an enjoyable enigma in The Original Trilogy, someone who lives very much in the present, his origins best revealed in the little details we glean about him in passing – but while it’s a flawed creation, this interstellar heist adventure mostly pulls off what was intended.  Like many fans of The Lego Movie, I remain deeply curious about what original director duo Phil Lord and Chris Miller could have achieved with the material, but I wholeheartedly approved Disney’s replacement choice when he was announced – Ron Howard is one of my favourite “hit-and-miss” directors, someone who’s made some clunkers in his time (The Da Vinci Code, we’re looking at you) but can, on a good day, be relied on to deliver something truly special (Willow is one of my VERY FAVOURITE movies from my childhood, one that’s stood up well to the test of time, and a strong comparison point for this; Apollo 13 and Rush, meanwhile, are undeniable MASTERPIECES), and in spite of its shortcomings I’m ultimately willing to consider this one of his successes. Another big step in the right direction was casting Hail, Caesar! star Alden Ehrenreich in the title role – Harrison Ford’s are seriously huge shoes to fill, but this talented young man has largely succeeded.  He may not quite capture that wonderful growling drawl but he definitely got Han’s cocky go-getter swagger right, he’s particularly strong in the film’s more humorous moments, and he has charisma to burn, so he sure makes entertaining viewing.  It also helps that the film has such a strong supporting cast – with original Chewbacca Peter Mayhew getting too old for all this derring-do nonsense, former pro basketball-player Joonas Suotamo gets a little more comfortable in his second gig (after The Last Jedi) in the “walking carpet” suit, while Woody Harrelson adds major star power as Tobias Beckett, Han’s likeably slippery mentor in all things criminal in the Star Wars Universe, and Game of Thrones’ Emilia Clarke is typically excellent as Han’s first love Qi’ra, a fellow Corellian street orphan who’s grown up into a sophisticated thief of MUCH higher calibre than her compatriots.  The film is dominated, however, by two particularly potent scene-stealing turns which make you wonder if it’s really focused on the right rogue’s story – Community star Donald Glover exceeds all expectations as Han’s old “friend” Lando Calrissian, every bit the laconic smoothie he was when he was played by Billy Dee Williams back in the day, while his droid companion L3-37 (voiced with flawless comic skill by British stage and sitcom actress Phoebe Waller-Bridge) frequently walks away with the film entirely, a weirdly flirty and lovably militant campaigner for droid rights whose antics cause a whole heap of trouble.  The main thing the film REALLY lacks is a decent villain – Paul Bettany’s oily kingpin Dryden Voss is distinctive enough to linger in the memory, but has criminally short screen-time and adds little real impact or threat to the main story, only emphasising the film’s gaping, Empire-shaped hole.  Even so, it’s still a ripping yarn, a breathlessly exciting and frequently VERY funny space-hopping crime caper that relishes that wonderful gritty, battered old tech vibe we’ve come to love throughout the series as a whole and certainly delivers on the action stakes – the vertigo-inducing train heist sequence is easily the film’s standout set-piece, but the opening chase and the long-touted Kessel Run impress too – it only flags in the frustrating and surprisingly sombre final act.  The end result still has the MAKINGS of a classic, and there’s no denying it’s also more enjoyable and deep-down SATISFYING than the first two films in George Lucas’ far more clunky Prequel Trilogy.  Rogue One remains the best of the new Star Wars movies so far, but this is nothing like the disappointment it’s been made out to be.

25.  AQUAMAN – the fortunes of the DC Extended Universe cinematic franchise continue to fluctuate – these films may be consistently successful at the box office, but they’re a decidedly mixed bag when it comes to their quality and critical opinion, and the misses still outweigh the hits.  Still, you can’t deny that when they DO do things right, they do them VERY right – 2017’s acclaimed Wonder Woman was a long-overdue validation for the studio, and they’ve got another winner on their hands with this bold, brash, VERY ballsy solo vehicle for one of the things that genuinely WORKED in the so-so Justice League movie.  Jason Momoa isn’t just muscular in the physical sense, once again proving seriously ripped in the performance capacity as he delivers rough, grizzled charm and earthy charisma as half-Atlantean Arthur Curry, called upon to try and win back the royal birthright he once gave up when his half-brother Prince Orm (Watchmen’s Patrick Wilson), ruler of Atlantis, embarks on a brutal quest to unite the seven underwater kingdoms under his command in order to wage war on the surface world.  Aquaman has long been something of an embarrassment for DC Comics, an unintentional “gay joke” endlessly derided by geeks (particularly cuttingly in the likes of The Big Bang Theory), but in Momoa’s capable hands that opinion has already started to shift, and the transition should be complete after this – Arthur Curry is now a swarthy, hard-drinking alpha male tempered with a compellingly relatable edge of deep-seeded vulnerability derived from the inherent tragedy of his origins and separation from the source of his immense superhuman strength, and he’s the perfect flawed action hero for this most epic of superhero blockbusters.  Amber Heard is frequently as domineering a presence as Atlantean princess Mera, a powerful warrior in her own right and fully capable of heading her own standalone adventure someday, and Wilson makes for a very solid and decidedly sympathetic villain whose own motivations can frequently be surprisingly seductive, even if his methods are a good deal more nefarious, while The Get Down’s Yahya Abdul-Mateen II is more down-and-dirty BAD as David Kane, aka the Black Manta, a lethally tech-savvy pirate who has a major score to settle with the Aquaman; there’s also strong support from the likes of Willem Dafoe as Curry’s sage-like mentor Vulko, Dolph Lundgren as Mera’s father, King Nereus, the ever-reliable Temuera Morrison as Arthur’s father Thomas, and Nicole Kidman as his ill-fated mother Atlanna.  Director James Wan is best known for establishing horror franchises (Saw, Insidious, The Conjuring), but he showed he could do blockbuster action cinema with Fast & Furious 7, and he’s improved significantly with this, delivering one gigantic action sequence after another with consummate skill and flair as well as performing some magnificent and extremely elegant world-building, unveiling dazzling, opulent and exotic undersea civilizations that are the equal to the forests of Pandora in Avatar, but he also gets to let some of his darker impulses show here and there, particularly in a genuinely scary visit to the hellish world of the Trench and its monstrous denizens.  It may not be QUITE as impressive as Wonder Woman, and it still suffers (albeit only a little bit) from the seemingly inherent flaws of the DCEU franchise as a whole (particularly in yet another overblown CGI-cluttered climax), but this is still another big step back in the right direction, one which, once again, we can only hope they’ll continue to repeat.  I’ll admit that the next offering, Shazam, doesn’t fill me with much confidence, but you never know, it could surprise us.  And there’s still Flashpoint, The Batman and Birds of Prey to come …

24.  THREE BILLBOARDS OUTSIDE EBBING, MISSOURI – filmmaker brothers Martin and John Michael McDonagh have carved an impressive niche in cinematic comedy this past decade, from decidedly Irish breakout early works (In Bruges from Martin and The Guard and Calvary from John) to enjoyable outsider-looking-in American crim-coms (Martin’s Seven Psychopaths and John’s War On Everyone), and so far they’ve all had one thing in common – they’re all BRILLIANT.  But Martin looks set to be the first brother to be truly accepted into Hollywood Proper, with his latest feature garnering universal acclaim, massive box office and heavyweight Awards recognition, snagging an impressive SEVEN Oscar nominations and taking home two, as well as landing a Golden Globe and BAFTA for Best Picture.  It’s also the most thoroughly AMERICAN McDonagh film to date, and this is no bad thing, Martin shedding his decidedly Celtic flavours for an edgier Redneck charm that perfectly suits the material … but most important of all, from a purely critical point of view this could be the very BEST film either of the brothers has made to date.  It’s as blackly comic and dark-of-soul as we’d expect from the creator of In Bruges, but there’s real heart and tenderness hidden amongst the expletive-riddled, barbed razor wit and mercilessly observed, frequently lamentable character beats.  Frances McDormand thoroughly deserved her Oscar win for her magnificent performance as Mildred Hayes, a take-no-shit shopkeeper in the titular town whose unbridled grief over the brutal rape and murder of her daughter Angela (Kathryn Newton) has been exacerbated by the seeming inability of the local police force to solve the crime, leading her to hire the ongoing use of a trio of billboards laying the blame squarely at the feet of popular, long-standing local police Chief Bill Willoughby (Woody Harrelson). Needless to say this kicks up quite the shitstorm in the town, but Mildred stands resolute in the face of seemingly overwhelming odds, refusing to back down.  McDormand has never been better – Mildred is a foul-mouthed, opinionated harpy who tells it like it is, no matter who she’s talking to, but there’s understandable pain driving her actions, and a surprisingly tender heart beating under all that thorniness; Harrelson, meanwhile, is by turns a gruff shit-kicker and a gentle, doting family man, silently suffering over his own helplessness with the dead end the case seems to have turned into.  The film’s other Oscar-winner, Sam Rockwell, also delivers his finest performance to date as Officer Jason Dixon, a true disgrace of a cop whose permanent drunkenness has marred a career which, it turns out, began with some promise; he’s a thuggish force-of-nature, Mildred’s decidedly ineffectual nemesis whose own equally foul-mouthed honesty is set to dump him in trouble big time, but again there’s a deeply buried vein of well-meaning ambition under all the bigotry and pigheadedness we can’t help rooting for once it reveals itself.  There’s strong support from some serious heavyweights, particularly John Hawkes, Caleb Landry Jones, Peter Dinklage, Abbie Cornish and Manchester By the Sea’s breakout star Lucas Hedges, while McDonagh deserves every lick of acclaim and recognition he’s received for his precision-engineered screenplay, peerless direction and crisp, biting dialogue, crafting a jet black comedy nonetheless packed with so much emotional heft that it’ll have you laughing your arse off but crying your eyes out just as hard.  An honest, unapologetic winner, then.

23.  RED SPARROW – just when you thought we’d seen the last of the powerhouse blockbuster team of director Francis Lawrence and star Jennifer Lawrence with the end of The Hunger Games, they reunite for this far more adult literary feature, bringing Jason Matthews’ labyrinthine spy novel to bloody life.  Adapted by Revolutionary Road screenwriter Justin Haythe, it follows the journey of Russian star ballerina Dominika Egorova (Lawrence) into the shadowy world of post-Glasnost Russian Intelligence after an on-stage accident ruins her career.  Trained to use her body and mind to seduce her targets, Dominika becomes a “Sparrow”, dispatched to Budapest to entrap disgraced CIA operative Nate Nash (Joel Edgerton) and discover the identity of the deep cover double agent in Moscow he was forced to burn his own cover to protect.  But Dominika never wanted any of this, and she begins to plot her escape, no matter the risks … as we’ve come to expect, Jennifer Lawrence is magnificent, her glacial beauty concealing a fierce intelligence and deeply guarded desperation to get out, her innate sensuality rendered clinical by the raw, unflinching gratuity of her training and seduction scenes – this is a woman who uses ALL the weapons at her disposal to get what she needs, and it’s an icy professionalism that informs and somewhat forgives Lawrence’s relative lack of chemistry with Edgerton.  Not that it’s his fault – Nate is nearly as compelling a protagonist as Dominika, a roguish chancer whose impulsiveness could prove his undoing, but also makes him likeable and charming enough for us to root for him too.  Bullhead’s Matthias Schoenarts is on top form as the film’s nominal villain, Dominika’s uncle Ivan, the man who trapped her in this hell in the first place, Charlotte Rampling is beyond cold as the “Matron”, the cruel headmistress of the Sparrow School, Joely Richardson is probably the gentlest, purest ray of light in the film as Dominika’s ailing mother Nina, and Jeremy Irons radiates stately gravitas as high-ranking intelligence officer General Vladimir Andreievich Korchnoi.  This is a tightly-paced, piano wire-taut thriller with a suitably twisty plot that constantly wrong-foots the viewer, Lawrence the director again showing consummate skill at weaving flawlessly effective narrative with scenes of such unbearable tension you’ll find yourself perched on the edge of your seat throughout.  It’s a much less explosive film than we’re used to from him – most of the fireworks are of the acting variety – but there are moments when the tension snaps, always with bloody consequences, especially in the film’s standout sequence featuring a garrotte-driven interrogation that turns particularly messy.  The end result is a dark thriller of almost unbearable potency that you can’t take your eyes off.  Here’s hoping this isn’t the last time Lawrence & Lawrence work together …

22.  WIDOWS – Steve McQueen is one of the most challenging writer-directors working in Hollywood today, having exploded onto the scene with hard-hitting IRA-prison-biopic Hunger and subsequently adding to his solid cache of acclaimed works with Shame and 12 Years a Slave, but there’s a strong argument to be made that THIS is his best film to date. Co-adapted from a cult TV-series from British thriller queen Lynda La Plante by Gone Girl and Sharp Objects-author Gillian Flynn, it follows a group of women forced to band together to plan and execute a robbery in order to pay off the perceived debt incurred by their late husbands, who died trying to steal $2 million from Jamal Manning (If Beale Street Could Talk’s Brian Tyree Henry), a Chicago crime boss with ambitions to go legit as alderman of the city’s South Side Precinct.  Viola Davis dominates the film as Veronica Rawlings, the educated and fiercely independent wife of accomplished professional thief Harry (a small but potent turn from Liam Neeson), setting the screen alight with a barely restrained and searing portrayal of devastating grief and righteous anger, and is ably supported by a trio of equally overwhelming performances from Michelle Rodriguez as hard-pressed mother and small-businesswoman Linda Perelli, The Man From UNCLE’s Elizabeth Debicki as Alice Gunner, an abused widow struggling to find her place in the world now she’s been cut off from her only support-mechanism, and Bad Times At the El Royale’s Cynthia Eriyo as Belle, the tough, gutsy beautician/babysitter the trio enlist to help them once they realise they need a fourth member.  Henry is a deceptively subtle, thoroughly threatening presence throughout the film as Manning, as is Get Out’s Daniel Kaluuya as his thuggish brother/lieutenant Jatemme, and Colin Farrell is seemingly decent but ultimately fatally flawed as his direct political rival, reigning alderman Jack Mulligan, while there are uniformly excellent supporting turns from the likes of Robert Duvall, Carrie Coon, Lukas Haas, Jon Bernthal and Kevin J. O’Connor.  McQueen once again delivers an emotionally exhausting and effortlessly powerful tour-de-force, wringing out the maximum amount of feels from the loaded and deeply personal human interactions on display throughout, and once again proves just as effective at delivering on the emotional fireworks as he is in stirring our blood in some brutal set-pieces, while Flynn help to deliver another perfectly pitched, intricately crafted script packed with exquisite dialogue and shrewdly observed character work which is sure to net her some major wins come Awards season.  Unflinching and devastating but thoroughly exhilarating, this is an extraordinary film (and if this was a purely critical list it would surely have placed A LOT higher), thoroughly deserving of every bit of praise, attention and success it has and will go on to garner.  An absolute must-see.

21.  JURASSIC WORLD: FALLEN KINGDOM – Colin Trevorrow’s long-awaited 2015 Jurassic Park sequel was a major shot in the arm for a killer blockbuster franchise that had been somewhat flagging since Steven Spielberg brought dinosaurs back to life for the second time, but (edgier tone aside) it was not quite the full-on game-changer some thought it would be.  The fifth film, directed by J.A. Bayona (The Impossible, A Monster Calls) and written by Trevorrow and his regular script-partner Derek Connolly (Safety Not Guaranteed and JW, as well as Warner Bros’ recent “Monsterverse” landmark Kong: Skull Island), redresses the balance – while the first act of the film once again returns to the Costa Rican island of Isla Nublar, it’s become a very different environment from the one we’ve so far experienced, and a fiendish plot-twist means the film then takes a major swerve into MUCH darker territory than we’ve seen so far.  Giving away anything more does a disservice to the series’ most interesting story to date, needless to say this is EASILY the franchise’s strongest feature since the first, and definitely the scariest.  Hollywood’s most unusual everyman action hero, Chris Pratt, returns as raptor wrangler Owen Brady, enlisted to help rescue as many dinosaurs as possible from an impending, cataclysmic volcanic eruption, but in particular his deeply impressive trained raptor Blue, now the last of her kind; Bryce Dallas Howard is also back as former Jurassic World operations manager turned eco-campaigner Claire Dearing, and her His Girl Friday-style dynamic with Pratt’s Brady is brought to life with far greater success here, their chemistry far more convincing because Claire has become a much more well-rounded and believably tough lady, now pretty much his respective equal.  There are also strong supporting turns from the likes of Rafe Spall, The Get Down’s Justice Smith, The Vampire Diaries/The Originals’ breakout star Daniella Pineda, the incomparable Ted Levine (particularly memorable as scummy mercenary Ken Wheatley) and genuine screen legend James Cromwell, but as usual the film’s true stars are the dinosaurs themselves – it’s a real pleasure seeing Blue return because the last velociraptor was an absolute treat in Jurassic World, but she’s clearly met her match in this film’s new Big Bad, the Indoraptor, a lethally monstrous hybrid cooked up in Ingen’s labs as a living weapon.  Bayona cut his teeth on breakout feature The Orphanage, so he’s got major cred as an accomplished horror director, and he uses that impressive talent to great effect here, weaving an increasingly potent atmosphere of wire-taut dread and delivering some nerve-shredding set-pieces, particularly the intense and moody extended stalk-and-kill stretch that brings the final act to its knuckle-whitening climax.  It’s not just scary, though – there’s still plenty of that good old fashioned wonder and savage beauty we’ve come to expect from the series, and another hefty dose of that characteristic Spielbergian humour (Pratt in particular shines in another goofy, self-deprecating turn, while Smith steals many of the film’s biggest laughs as twitchy, out-of-his-comfort-zone tech wizard Franklin).  Throw in another stirring and epic John Williams-channelling score from Michael Giacchino and this is an all-round treat for the franchise faithful and blockbuster fans in general – EASILY the best shape the series has been in for some time, it shows HUGE promise for the future.

The Wizard

I wonder if you can help me, I'm trying to find a wizard.

My wizard is lost thirty-five years in the past, though I can still remember them so very clearly. They're shaped like a miniature pyramid with arms, their sides all staggered by pixels. This is my wizard.

Maybe the wizard's arms are a little longer or a little shorter. Perhaps one is bent at the elbow. It's those billowingly blocky robes that I remember the most.

I can't tell you what colour those robes are, because I only ever saw them through a black and white monitor, small and heavy, the near-square shape that all our screens were then. I think the wizard hung out with a lot of other wizards and priests and demons and beasts, the sort of contemporaries that have always collected together in the castles and catacombs we craft for them. The sort that are lined up for us to knock down, arranged to present an ever-increasing challenge. The colour of each of these beings mattered very much and the limits of black and white prevented me from ever figuring out exactly who was who, what was what. It's part of what contributed to my wizard being an enduring mystery, to the confusion I always felt when I visited them and their companions.

I remember the sparse, top-down environments through which this wizard moved, stepping from space to space without animation or articulation, through rectangular rooms that were little more than a void. Back then, so many video game worlds were huge vacuums of nothing, wide and blank spaces of black or white loosely defined by rigid lines and bold colours. Now, they look more like Mondrian paintings than recognisable realities and yet the inclusion of one distinct element, a basic attempt at brickwork or a square and spindly tree, is all it takes to tug you toward them. Combine that with the imagination of a child, with its extraordinary ability to fill in every detail, and there was more than enough to be excited about.

I think the wizard may have lived in one of several games that were part of a series. I don't remember which number in the series, what the series was called, or how long it ran for. This is the detail I feel less sure of, but I’m certain of everything else. Certain, in the way that our simultaneously tattered and yet tenacious human memories can dig their hooks into the tiniest of details and make us so sure of the vaguest of qualities.

Thirty-five years on, that hook is still caught into something and, like a fishing rod, my mind bends toward it, urging me to tug, to reel in the past. For decades now, this damn wizard has popped back into my mind. Sometimes when this happens I resume my search. I never make any progress.

The wizard manifested on our Commodore VIC-20, a home computer with five kilobytes of RAM, though I think we had an expansion pack that boosted this by a magnificent thirty-two more, all of it packed in to a chunky rectangle of metal that hung out the back of the machine. At night, the wizard slept on one of a countless collection of cassette tapes made anonymous by poor labelling and terrible sorting. I have no idea where any of these tapes came from and how many generations old the copies on them were. I rarely knew what was on any of them. I certainly wouldn’t call them curated.

Some of those tapes ran for only fifteen minutes each side, designed precisely for storing the small amounts of data required for single programs. Others were the kind used to copy music off the radio or vinyl and ran for a colossal ninety. All were full of countless games, each following the other into long, languid, linear infinity. There was no way to know what you'd find except by slipping one into the player and waiting to see what it would read. These tapes weren't always taken care of and sometimes five minutes of spooling gave you nothing but corrupted data and a blank loading screen. It was time to reboot and start again or, more often than not, keep the tape playing and move on.

I lost what felt like incalculable aeons going through these tapes, though a tiny child's perception distorts time so melodramatically that waiting whole minutes for each game to load is remembered now as an endless procession of painful purgatories. So too is trying to understand games in their most basic and arcane iteration. Decades of video gaming have seen not only tremendous leaps in technology, but also in presentation, interface and accessibility. Games have become so much more coherent, better at telling us what we should do and how we should do it. The much younger me was stuck trying to understand if I was bad at playing a video game, or if the video game was bad at being a video game. And many were.

I never made any progress with my wizard. I didn't know what was expected of me and, with so many tapes to try, I spent more time on other games. I have far firmer memories of text adventures that I'm sure improved my reading skills, of the VIC-20's version of Centipede, or of the infuriating Cops 'n' Robbers and its similarly sparse world. I imagine that most of the things I played would've disappeared into obscurity were it not for the internet's wealth of specialist retrospectives, where no topic is too niche and no dive too deep. Now, I get to see the games I played in the colours they were given. I only had to wait entire decades.

And yet I still cannot find my wizard.

All retrospection brings depth, as well as context, and I don't find the act of looking back to be one of rose-tinted romanticism. I find it one that brings a broader awareness and a greater understanding. Every time I search for my wizard I’m dragged back to an increasingly distracting version of the 1980s that becomes ever more elaborate. I never see the era the way that I did as a child. I see its versions of political unrest and social upheaval. I see its particular social divisions. And I see the ways people thought that technology would change their world, contrasted with the ways it really did.

And I like catching different flavours of the future that we cooked up during this time, because they're really about the present that was, about its hopes and values and aspirations, about Reaganomics and free markets and how technology will make us all rich and people of leisure, not anxious and underemployed. And these visions are dotted with tiny, tell-tale details that recall so many of our assumptions. The screens in so much 80s sci-fi are the same aspect ratio as our old televisions, as my small and heavy black and white monitor. However we saw the future back then, its media remained magnificently square.

I don't remember the moral panics of the time and I must have sidestepped most of them, but I do know that, even then, video games were supposed to make us violent and volatile. Movies, too. And Dungeons & Dragons was the most corrupting influence of all, leading children to death and to the devil. What I do remember is people really believing that television would ruin your eyesight. I'm infinitely grateful that the rumours of the time never gained enough momentum to impact my interests. Otherwise, I might not have a job.

I know where my wizard isn't, after searching in so many places. I know they aren’t from the later game Chaos, and I know they had friends who were similar in shape to ZX Spectrum hero Horace, like the headless humans of legend. But that’s all. Lately, I have begun to worry that I will never find them, because I will never have enough information, but that still doesn’t stop these recurring midnight meanderings that see me tunnel back through time.

I wonder what would stop them. I wonder if they will only lead me to a greater understanding of the past, even of myself, and that finally finding my wizard might end that journey prematurely. I wonder if it will be an anticlimax. I worry that it might ruin things.

And yet I keep trying.

I wonder if you can help me, I'm trying to find a wizard.

(Taken from my Patreon. If you enjoyed this writing, please consider supporting me there, where you can find much, much more.)

Electronic Entertainment Expo 2017 was held on June 13-15 in Los Angeles, USA. Meaning, it has once again come and gone, and now comes the time to talk about some of its biggest news (ones that matters to me, at least). That's right, it's a Video-Game Special Random-News-Digest this time around...

NOTE: In general, the topics below are categorized under the company that released them. But in some cases, they go by their separate franchises instead. And one more thing, this was supposed to go up yesterday, precisely one day after E3 2017 ended. BUT... due to unexpected technical issues (internet connection, and... my health), I had no choice but to postpone it. Better late than never, I guess... *sigh*

Marvel vs Capcom

Let's kick this off with a collaboration of Marvel and CAPCOM. Aside from another "Monster Hunter" title that I honestly couldn't care less, "Marvel vs. Capcom: Infinite" was one of CAPCOM's big showcase this year. Remember that leak that arrived earlier this month, the one that spoiled the game's roster? Looks like that report might be true after all. CAPCOM has officially unveiled several more playable characters: the Marvel side has been added by Sorcerer Supreme Doctor Strange, cosmic warrior Nova, assassin Gamora, and the Mad Titan Thanos; while the CAPCOM side was expanded by silver haired Dante of the original "Devil May Cry" (so NOT the latest reboot "DmC"), Zero from "Rockman X" series, cyborg Spence of "Bionic Commando", and goofy knight Arthur from the action comedy franchise "Ghosts 'n Goblins". Considering all eight of these names fit that roster report, I'm pretty sure the credibility of that leak has been confirmed. Everyone was revealed through the new Story trailer, that also announced that a Story Demo has been made available to those who want to experience the game first-hand. You can also check out some of these characters in action, as well as possible in-game pairings (like Gamora-Strider, Strange-Arthur, and so on), through the official gameplay video.

As I've commented on my previous R-N-D, most of the names (with the exception of two) revealed here are 'has been' characters. So while some people were happy about them, many were equally disappointed, which isn't good considering the internet hasn't been kind towards this title. An issue that stemmed from public's disappointments to "Street Fighter V", really. Thankfully, there was one pleasant surprise that came along with this trailer. And it's Black Panther! Those X-Men enthusiasts who cried foul when Wolverine is omitted from the game, can stop whining because the character officially has a replacement now. I'm pretty confident that Panther is going to share a similar 'slash and dice' movesets, if not simply a re-skin version. Panther's inclusion made a lot of sense, considering his first-ever solo movie is arriving in February 2018. The same logic goes to Thanos, as "Avengers: Infinity War" that will put him in the spotlight will arrive a few months after in May. And thanks to Thanos' importance in the story mode, now I understand why Gamora (who shares a famillial link) is necessary to be included in the core cast. Somehow I suspect she's going to be a re-skin of Jill Valentine though, and that might be an issue. Speaking of problem, Panther's not among the core roster. He will be part of the upcoming 6 character DLCs that already includes Ultron and Sigma, though seemingly will be available on launch as part of the 'Deluxe Edition'. And since we already have Gamora, Rocket Raccoon, and also Groot (who has been confirmed to be an official assist of Rocket, as they come in one package), I wouldn't be surprised if Star-Lord will follow suit among this DLC wagon as well.

Story is usually not a fighting game's forte. Even the seamless touch of "Mortal Kombat" couldn't hide the fact that it's... ridiculous at best. And well... this one is no different. Jugding from the trailer, this game seems to rely heavily on the Infinity Stones, or as Captain America suggested, "Infinite Six". Again, it also makes sense, due to the movie based on it happening in less than a year. After all, why would the title even bothered to have 'Infinite' as the sub-title, if that's not the whole point, right? The universe-shattering plot somehow reminded me of "Street Fighter V" all over again, which wasn't that great. So I'm not too sure CAPCOM will be able to pull this 'cinematic experience' off into something significantly better. The CAPCOM characters already felt... what's the word... out of place? And yikes, what happened to Chun-Li?! Subjectively speaking, she's not as 'ugly' as NetherRealm Studios' design for female characters, but I've certainly seen the Chinese Interpol agent in a much better shape before! On the other hand, never thought I'm gonna say this, but Thanos totally kicked-ass with his Infinity Gauntlet. Getting me more and more excited for the "Infinity War" movie, which might be the other primary goal of this game from the very beginning.

I don't know what you think, but overall this game doesn't look half bad. The design might need some getting used to, but I think it feels closer and closer to the previous 3 titles the more I see it. Unfortunately, as I've said before, the general sentiment of this game is definitely leaning on the side of negative. Fans who have 'tasted' the Story Demo have expressed a similar pessimistic tone as well. With a release date crawling closer and closer, how would CAPCOM react to this? I guess we'll just have to wait and see when the game is officially launched. "Marvel vs. Capcom: Infinite" will be released for PlayStation 4, Xbox One, and PC on September 19.

Sonic the Hedgehog

SEGA released a new trailer for "Sonic Forces", and this time around, they introduced the set of villains that Modern, Classic and Custom Sonic will be teaming up to face. I was already sold by the inclusion of a Custom character, but seeing all those arch-nemesises in one place just turned me into... a pure happy camper. And that's not all, because a new powerful and mysterious enemy will be joining, if not commanding them. Infinite, no relations to the above category, will be teaming up with Doctor Ivo Robotnik/Eggman (from... duh, almost every game?), Metal Sonic (who debuted on "Sonic CD"), Chaos (of "Sonic Adventure"), Shadow the Hedgehog (of "Sonic Adventure 2"), and Zavok (from the recent "Sonic Lost World") to take over the world. Seriously, that new villain looks scary, and he's totally stealing my attention. Dang it, I totally wish I can play this game. There's no release date so far, but "Sonic Forces" will be released for PlayStation 4, Xbox One, Nintendo Switch, and PC this holiday.

Dragon Ball

I actually couldn't care less about any "Dragon Ball"-based games beyond the ones released during the 90s, but this one... "Dragon Ball FighterZ"? This totally got my attention! Indeed, it was that good, that it was stealing many E3 attendee's attention with its high speed action, flashy moves, and colorful anime graphics. For some reason, the "Marvel vs Capcom" style felt strong in this, to the point that many people have come to loving this more than that franchise's upcoming release. Ironic, huh? I guess nostalgia does play a crucial factor...

This title is under Bandai Namco, but developed by Arc System Works, and somehow was leaked a few days ahead of its planned official reveal. The latter is the company that is known for franchises like "BlazBlue", "Guilty Gear", and also the "Naruto" series. But unlike the Naruto ones that went full-on 3D style, this one utilized a 2.5D style, which once again, is the right call! Why? The development is in 3D, which as producer Tomoko Hiroki has confirmed, makes some technical elements much easier to pull off, but the visual is of 2D animation. And I say, not just that. "Dragon Ball" IS and has always been an anime, thus the anime style is definitely the way to go when it comes to adapting Son Goku and other character of the long-running franchise. It also easily reminded me of those classic "Dragon Ball" fighting game I used to play on my SEGA Genesis/Mega Drive with my family. Aaah, the good 'ol times when the world was still kind, and people hasn't been corrupted by the irony called... growing up.

The game's official reveal trailer only included 6 characters so far: Son Goku, Vegeta, (child) Son Gohan, Cell, Frieza, and Majin Buu. But since the game will be based on the whole "Dragon Ball Z" arc, it's obvious we'll be seeing many more characters like the twins Android 17 and Android 18, Krillin, (future and child) Trunks, and even Son Goten. Especially with Bandai Namco stressing out that "famous scenes from the Dragon Ball anime reproduced in 60 frames per second and 1080p resolution.". A closed beta demo will be held on PlayStation 4 and Xbox One before the end of summer, so fans who are intrigued to give this game a shot, just need to wait a bit longer. For the time being, we can indulge ourselves with several gameplay videos taken as direct-feed from the E3 hall. You can visit Gematsu (HERE, and HERE) to view them. "Dragon Ball FighterZ" will be released for PlayStation 4, Xbox One, and PC worldwide in early 2018.

Nintendo

Contrary to previous report, Nintendo did take the stage this year, as they announced numerous exciting titles that made MAAANY people happy. Not a surprise as well, because Nintendo Switch was just released 4 months ago, and there haven't been many softwares to complement the hybrid console.

Let's start with what's probably the biggest signature title for Switch. A game that IGN has even crowned to be the "Game of Show", "Best Platformer", and "Best Nintendo Switch Game" of E3 2017. It's none other than... "Super Mario Oddysey"! In this game, players will take Mario on a globe-trotting 3D adventure to collect Moons, a fuel for the airship 'Oddysey' that is necessary to rescue Prince Peach from Bowser. Yeah, I know what you're thinking. How many effing times do Mario needs to walk through the same scenario, right? But never mind that, because this game looked super fun.

I haven't purchased Switch yet, but even I'm already itching to play this game. For so many reasons. That great and catchy theme song that made me dancing like a child. That white broadway top-hat, or Mexican sombrero? And Mario 'possessing' practically any living beings around him with a cap throw? Dang it, if only I can play it right NOW. This looked a lot like "Super Mario Galaxy" on Wii, but with its own... spin. Get it? Here, just take a look at its reveal trailer, or the gameplay videos (available on Gematsu), and tell me if you're not easily charmed by this game. Because if you're not, then I seriously pity your sad childhood (just kidding, no need for death threat!). "Super Mario Odyssey" will launch on October 27th, 2017... only on Nintendo Switch.

The second Switch game for Mario is "Mario + Rabbids Kingdom Battle", that combines the world of Mario and his Mushroom Kingdom, with Ubisoft's "Rabbids" franchise. Yep, this worst-kept secret collaboration title has been developed by Ubisoft, hence why I don't give the company their own exclusive category (because its content will be separated in two). In this game, Mario, Luigi, Princess Peach, and also Yoshi will join forces with their four... Rabbids dopplegangers, to journey four different worlds, in the hope of restoring order to The Mushroom Kingdom. I'm personally NOT a fan of the Rabbids, but even this crossover game looked FUN. And beyond that, according to IGN it has a deep strategic battle system too. But more importantly, this game also proved that Nintendo is becoming more open to allow other developers to use their properties. A fact that inspires great potentials and possibilities in the future. You can watch the official announcement trailer on Youtube, as well as a Development Diary for the game. Gematsu also had 21 minutes of gameplay from the E3 floor, so go ahead and visit the site. "Mario + Rabbids Kingdom Battle" will be released for Nintendo Switch on August 29th, 2017.

More Mario? Yes... more Mario! Announced during Nintendo's E3 2017 Treehouse live stream, "Mario & Luigi: Superstar Saga + Bowser's Minions" is a renewed classic that will arrive on October 6th, 2017 exclusively for Nintendo 3DS. In this game, rather than trying to battle Bowser, the Mario Bros are teaming up WITH Bowser to restore Princess Peach's voice. Visit Youtube for the official trailer, and also Gematsu for 25 minutes of gameplay videos. Wow, Mario is killing it, huh? Nope, not just him, his green dinosaur friend Yoshi is also getting his own Switch game! Conveniently titled as "Yoshi", the 2D side-scrolling adventure will see Yoshi exploring a world of miniature diorama filled with flip-ping surprises. Go ahead and watch the trailer and have your mind... flipped. LOL. "Yoshi" will be released in 2018.

What about other franchises, you wonder? Well, ask and you shall receive! In list form... LOL - The honestly weird-looking "Arms", is getting rave reviews. It's ridiculous fun, even with its lack in the story department as well as... logic. It might look simple, but it has a startling amount of depth that will wow anyone. Many are saying that this will be a hit for families entertainment, and the game is already hitting the market with a DLC already announced. - Fans of the "Metroid" series will also get their share of excitement. "Metroid Prime 4" has been announced for Switch. There's no release date for now, but I'm sure information about that will come in the near future. The same can't be said about "Metroid: Samus Returns" though. A 3D polygon remake of Game Boy classic "Metroid II: The Return of Samus", the title will be officially released for 3DS on September 15th, 2017. - The pink ball Kirby also gets Switch-ed, in the equally conveniently named "Kirby". Kirby will be adventuring in a party of four, which means up to 4 players can play this game together. Don't forget to check out its Hollywood style trailer! "Kirby" doesn't have a release date yet, but is set to be released in 2018. - And "Skyrim" fans? You got it! Complete with amiibo support and Legend of Zelda skins...

As you can see, the library of Switch is expanding like crazy, and it's an exciting turn around especially compared to what happened to Wii U. Those who have purchased this hybrid console since day one, no longer has to worry about not having a game to play. And for those who haven't had a chance to do so... well, the more the reason to get a Nintendo Switch, right? *grins*

Pocket Monsters

Are you among those who are waiting for a core Pokemon title on Switch? And you were disappointed when "Pokemon Ultra Sun & Ultra Moon" was announced for 3DS instead of the rumored "Pokemon Stars"? Well, turns out you only need to wait... a little bit longer. The Pokemon Company president Tsunekazu Ishihara officially announced that Game Freak has begun developing a core RPG title for Nintendo Switch! So it is indeed happening, folks! He added though, that the title "may not release for more than a year, but we hope you will look forward to it all the same", hence why I told you to wait. Then again, more than a year from now can also mean... it MIGHT arrive on November 2018, right? Wow, I'm getting excited for no reason... LOL.

In a way, this announcement has also partially confirmed that the Switch is indeed the officiall replacement of 3DS. Moreso, and this is just a wild guess, but likely the rumor about "Pokemon Stars" was actually referring to this particular development, instead of the recently announced extension of "Pokemon Sun & Moon". Either way, this is a great news, because we're finally getting what many Pokemon fans have been dreaming: a chance to play a Pokemon RPG on the TV screen! How is that possible, you dare ask? DUH, Switch is a hybrid console that enables that! Of course, this also works wonder to Switch itself, because quoting my own words from last week: "The hybrid console is definitely in need of a fan favorite franchise like Pokemon to attract more players". Yes, the E3 announcement for those Mario titles and many others have shut down the public concern of 'Switch is lacking of exclusive game titles'. But having a Pokemon RPG on Switch, will undeniably attract Pokemon fans who are still on the fence to purchase the console and help boost its sales. Want prove? That's easy, because mark my word, I'm TOTALLY getting a Switch (sooner or later) just for this! *geeks out*

By the way, technically speaking, this section should've been part of the Nintendo category. But since it has already established its own category (in various form of medias) for such a long time, I've decided to put it separately.

Assassin's Creed

At long last, Ubisoft officially unveiled "Assassin's Creed: Origins" during Microsoft's E3 2017 stage. It was certainly not a surprise announcement, considering the title was already leaked since May. More than that, a Game Informer coverage was already leaked ahead of E3, officially spilling the beans in a non-official manner. Ouch! Someone at Game Informer is going to get fired...

Confirming the rumor, the new game will take place in Egypt, and as the title suggest, will be telling about the founding of the Assassin's Brotherhood. The main character (but not the only playable one) will be Bayek, a protector of the land whose story will be root of the Creed. Since the game takes place in the ancient Egypt during Cleopatra's reign, we can expect to see Great Pyramids, mythologies, pharaohs, and many other awesome bits from the country's history. Eventhough this game has been in production before the infamous "Assassin's Creed Unity", it will have a new free-form combat system with new A.I., revamped narrative experience and freedom to choose quests, an entire country to full explore, while still retaining and improving the series existing signatures like puzzles, Eagle Vision (through an Eagle named the Senu this time), stealth, that annoying climbing, Naval adventures, and many others. You can check out the official reveal trailer on Youtube, a Gameplay Demo, coverage by Game Informer, as well as a "Mysteries of Ancient Egypt" that gave additional details about the game.

There are several version of the game that fans can purchase. First is the "Deluxe Edition" that contains the game, printed version of the hand-drawn world map, soundtrack, and Digital Deluxe Pack. Second is the "Gold Edition", that adds a Season Pass for upcoming expansions and equipments. There are also the "Collector's Edition", "Dawn of the Creed Collector's Edition", and the special "Dawn of the Creed Legendary Collector's Edition". That last one will add a highly detailed resin statue of Bayek and Senu, The Collector's Certificate of Authenticity, replica of Bayek's eagle skull amulet, two Steelbooks, and four large lithographs signed by the studio artists. This limited edition (only 999 units for worldwide sale) is already available for pre-order exclusively on Ubisoft store for $799,9. As the pricing suggest, this is totally for that devoted fan with plenty of money to spare! *sigh*. Visit Gematsu for further details of these items. "Assassin's Creed: Origins" will be released for PlayStation 4, Xbox One, and PC on October 27th, 2017.

Square Enix

The company brought their top franchise to the convention this year. Several new iterations of "Final Fantasy XV" were announced during the event, while new development on the highly anticipated "Kingdom Hearts III" was also revealed elsewhere.

Second DLC episode for "Final Fantasy XV", one that will focus on Prompto Argentum's solo adventure will be launched on June 27th, 2017, alongside the "Regalia Type-D" update (brings greater freedom to drive Regalia off-road). Just like the first that featured Gladioulus as the central character (released back in March), "Episode Prompto" will likely take place in between the infamous Chapter 13 of the main game as well. If Gladioulus was a hack and slash action genre, then apparently Prompto will take on a first-person shooter experience. Makes sense, really, considering his signature weapon of choice. You can check out a six minutes gameplay video of this DLC on Youtube.

Expanding the "FF XV Universe", two more extension games have been announced. The first one was "Monster of the Deep: Final Fantasy XV", that will be available for PlayStation VR. It's a... fishing game, that let players explore oceans, lakes, ponds, and rivers alongside Noctis and his friends. Clearly based on one of the main game's mini-mission, the game will be launched in September. For now, you can view the official trailer to know that I'm not at all kidding. The second was "King's Knight: Wrath of the Dark Dragon", which apparently is an action RPG. This one's an App game, and will be released on iOS and Android later this year. I can't see the relation of this title with the main game, but I'm sure Final Fantasy fans will dig it like crazy anyway, right? Last but not least, the main game will soon have a major update to support Microsoft's new console. One which I will talk about at the end of this post. "Final Fantasy XV" is available on PlayStation 4 and Xbox One.

As for "Kingdom Hearts III", Square Enix debuted a new trailer during the "Kingdom Hearts Orchestra World Tour". Compared to the "Final Fantasy" one, I personally liked this one better. But while the game looked great, the story seemed to have gotten... even more confusing by and by. Apparently, Hades, Maleficent, and Pete are looking for a Black Box or something, while lead character Sora alongside buddies Donald Duck and Goofy want to bring Roxas to reality, with a certain 'dire cost'. I recall only getting to the second game, thus never experienced the Nintendo DS ones to even have a clue of what's going on. Still, the charm of this series is the various Disney/Squaresoft worlds, and at the end of this trailer, Square Enix officially announced that new information will be delivered at the Disney D23 Expo 2017 on July 15th, 2017. That means there will be new worlds to explore, and I bet it will involve recent released titles like "Frozen", "Moana", and/or "Big Hero 6". "Kingdom Hearts III" is still under development, and hasn't gotten a release date, but is likely to arrive in 2018 for PlayStation 4 and Xbox One.

Taiko no Tatsujin

The latest iteration of the "Taiko Drum Master" series, the "Taiko no Tatsujin: Session de Dodon ga Don!" has been announced on Famitsu Magazine. The game will have a special jam session against other player's musical performance data, that can even be achieved when they are not actually available online. This game will include over 70 songs that cover from famous Japanese classic anime songs, classic orchestral musics, recent tunes from the J-Pop circle, up to modern hypes like the "Pen-Pineapple Apple-Pen". A teaser website has been opened by Bandai Namco, that revealed a special feature to play the game alongside popular characters from Japanese shows. Development has reached 80% and the game is set to be released for PlayStation 4 later this year.

Spider-Man

As proven by their smartphones games like "Future Fight" and "Contest of Champions", or the collaboration with CAPCOM that I've talked about above, Marvel is ramping up on their video game divison. And the one I'm going to talk about here, is their collaboration with Insomniac Games, in form of the non-nonsense titled "Marvel's Spider-Man". It is best known as "Spider-Man PS4" though, because as the nickname suggests, it will be exclusively released on PlayStation 4. And well, since SONY is the copyright owner of the Spider-Man franchise, it's not really much of a surprise huh?

A special 9 minutes gameplay video has been released to give players a sense of what to expect from this game. My reaction? If you're eager to see how Spider-Man gets trapped in a Rocksteady's Arkham game, then this is easily your answer. The whole stalking, cinematic quick-time sequences, as well as exciting one-vs-many combat totally reminded me of those Rocksteady titles. But instead of Batman and his vast array of gadgets, we have Spider-Man and his iconic humor, jokes, acrobatic movesets, and... gadgets in his place. Creative director Bryan Intihar also described the footage in details, through PS4's official blog. It seems Spidey will 'cooperate' with Wilson Fisk, to deal with the Inner Demons gang, who works under Martin Li or Mr. Negative. He will be exploring an open-world of New York to deal with super villains as well as personal matters.

Honestly, I'm not too keen on the human character design, as well as the first suit that has too much white. But this certainly caught my attention. Heck, I think every Marvel fans would be amazed by this. In fact, this game has been confirmed to include additional Spidey suits, as well as multiple Spider-Man characters, meaning there's more to it than what we've seen so far. With strong emphasis on story, it's not a joke that IGN has awarded it as "Best PS4 Game" as well as "Best Action Game" of E3 2017. Here's hoping the actual game will be as good as, if not better than this achievement suggested. "Spider-Man" will be released in 2018.

LEGO Games

New characters have been announced for "LEGO Marvel Super Heroes 2"! Giant teleportation mutt Lockjaw, and Inhumans Queen Medusa have officially entered the game alongside Agent Venom. As to be expected, the whole roster of Guardians of the Galaxy have also been confirmed to be playable in this second game, because the story will pick up directly where the previous title left off. Not to mention tying in to this year's "Guardians of the Galaxy Vol. 2" movie. There weren't many details offered for this game, because likely TT Games and Warner Bros Interactive Entertainment is saving more reveals to be delivered on Disney D23. For now, you can watch various gameplays through the official LEGO presentation stream on Youtube. "LEGO Marvel Super Heroes 2" will launch for all consoles on November 14th, 2017.

Professor Layton

Following last month's reveal of the first episode of "Layton's Mistery Journey: Katrielle and The Millionaires' Conspiracy", LEVEL-5 celebrated E3 2017 with with details for the second one. Episode 02, entitled "Song of a Certain Love: Riverside Festival" will focus on the town's tradition of confessing love from opposite sides of River Thames. One that is called "Riverside Confession Show". The legend told that the couple who engaged in that would die unnatural death. But this time, contrary to the annual festive that usually went victim-less, two young people actually get killed! An event that shakes the town, for better or worse. I found the premise of this episode to be exciting, because it means Katrielle isn't just a run-of-the-mill detective in this game. She's going to be investigating deaths, and possible murders!

Another two of the "Seven Millionaires of London" have also been revealed. Joining Ridley Fremens and Clerk Gospec are Andrea Quinto and Zach Lyell. Quinto is a young multi-millionaire who inherited a vast sum of money following the death of her parents. While Lyell is a sharp business who is extensively expanding businesses. He's the president of a group enterprise that owns Long Roller Bank. Up to this point, it's still unclear how or in what capacity these Millionaires are involved in the game. Are they part of a secret organization, that is somehow responsible for Professor Layton's disappearance? Or is there other mystery behind that? And how will they affect Katrielle's life?

Several new features have also been announced. Katrielle will be able to change clothes in the game, and they are specially designed by famous stylist Shouhei Kashima. New outfits can be obtained by using "Special Coins" in the 3DS version, or actual money in the smartphones version. Those who purchase the 3DS download version in Japan will receive a Flora Reinhold-style outfit. Player can also decorate the interior of Katrielle's "Layton Detective Agency" through the new "Room Coordinate" feature. New furnitures might be obtained by trading "Interior Tickets". As for the puzzles, this game is said to have the highest number of them, of all Layton titles. Lastly, the game's theme song "Girls" is sung by Kana Nishino, and will be officially released on July 26. "Layton's Mystery Journey: Katrielle and The Millionaires' Conspiracy" will be released worldwide on July 20th, 2017.

Atari

No, you're NOT reading it wrong. Atari, the classic 90s gaming console that even I have never even seen in real life, is getting back into the hardware business. Apparently, CEO Fred Chesnais had publicly stated this news on the E3 2017 floor. He didn't really go into specifics about this, aside from saying that it is based on PC technology. But could he be talking about that "Ataribox" that has been teased on Youtube? The video DOES call it 'a brand new Atari product'. It even has its own website. The current speculation on the internet, that Atari is attempting to replicate Nintendo's accomplishment with their NES Classic. You know, the one that only saw limited release and has been discontinued? Especially because the video hinted at the "Atari 2600" which was the first console ever released by the company. I guess we'll just have to wait for more information about this. But be honest, would you purchase a NES Classic-esque console just to play classic and likely long-forgotten Atari games? Personally, I'm NOT too sure...

Microsoft

Speaking of console... Okay, let's end this R-N-D with a topic that many are calling to be... the 'MOST POWERFUL' reveal of the Expo. Microsoft has officially unveiled the name of its high-tech console Project Scorpio, and it officially goes by name "Xbox One X". That's... so many Xs, huh? LOL. By 'most powerful', I'm obviously talking about the console's technical specifications of course. And not about that over-confident official tagline that's being boasted throughout the event on T-Shirts, as well as flaunted pretty much everywhere. Hold on... HUH?

Really, its technical specs is certainly no joke. True 4K resolution with 12GB GDDR5 graphic memory, that enable games to run smoothly in 8 million plus pixels resolution (that's the highest possible, for current technology at least); 8-core Custom AMD CPU with 6 Teraflops GPU and 326GB/s Memory Bandwidth, for realistic and smoother animations; liquid cooling and supercharger-style centrifugal fan, to ensure it stays cool with less noise, a system that, according to Xbox Software Engineering Kareem Choudhry, is usually implemented for servers; 8GB flash and 1TB internal HDD storage, with faster hard drive speed; 4K UltraHD Bluray Disc Drive; DTS and DOLBY TrueHD Atmos sounds; various connectivities via wires and wireless; and not to mention being the smallest consoler the company has ever released. To be honest, eventhough I might have an IT background, I have NEVER been into hardware. Thus all these gibberish tech-talks almost put me down to sleep. But I don't think it takes a genius to easily tell that this thing is massive. Undeniably a 'First Class' product that offers immersive gaming experience. According to IGN, the CPU is 30% faster than the current Xbox One, with a GPU that's 4.6 times higher. To ensure backward compatibility with it, all of its accessories and games will work on this Xbox One X, and existing games (like "Dragon Ball FighterZ", "Final Fantasy XV", and "Assassin's Creed: Origins" that I've mentioned above) will soon receive major updates to ensure faster loading time, even for a player who isn't utilizing a 4K TV.

Said technical specification is certainly an eye-popping fact. This is basically a super high-end PC set, in form of a standalone console. Unfortunately, that comparison also immediately raised several glaring questions among the public, particularly game enthusiasts. One that ranged from the most simple, like "Who is this intended for?" to the most philosophical like "Why even bother choose this over PC?". Indeed, which gamer market is Microsoft really trying to aim with this product? Because obviously, to make full use of the UltraHD 4K resolution, a gamer needs to eventually own and plug it into a 4K TV as well. Which is... STILL a really pricey technology that NOT everyone can afford. The fact that the console itself will arrive at an equally 'premium price', feels like a hard wake-up slap to every average guy's face.

Will this win over those gamers who have abandoned home consoles and have since moved on towards PC? In an interview with Gamespot, a developer (who's working on exclusive Xbox title... a random FYI to see the bigger picture) sang praises for Xbox One X by calling it as the most developer-friendly due to its super over-powered hardware. He said, "it's like a high-end PC crammed into this tiny little box". Of course, the logic that follows is, why not just... use a PC instead? A PC World writer has even made a possible comparison to the budget necessary to build one with similar specs. With its own valid pros and cons. The point is, PC gamers will likely opt to spend less money to upgrade their existing PC sets. So is this meant for Xbox fanatics who are looking to upgrade from a very recent Xbox One then? Or VR enthusiasts, eventhough it might be a veeeery niche market? Why not go with the cheaper Xbox One S instead? Hmmm...

Sure, technically speaking, Microsoft has created a console that's... uncomparable, and has no competitor in terms of power and performance (that's the words of Head of Xbox Phil Spencer himself). Will that guarantee a win in the console competition? Remember, the hip and popular neighbour PlayStation 4 (and its 4K extension PS4 Pro) proudly carries the advantages of having far richer library of titles and DLC exclusives, one that only continues to add as we speak. While the sweet and seemingly innocent new kid-on-the-block Nintendo Switch, is offering the ease of mobility, family-friendliness, and multiplayer experience both offline and online. Both are already promising long hours of entertainment with a relative 'family-budget' that seems more inline with the current economical climate throughout the world. So can Microsoft really be certain that their luxury product will appeal a much bigger mass than those? Particularly when sales for the current Xbox One isn't even doing... good? Learning from past experience, the answer to that is rather... skeptical.

No offense to the company, but somehow the term 'most powerful' itself feels... exaggerating much? I mean, A for effort, but it's nothing but a temporary bubble with a very limited lifetime. We are talking about technology here, a means that is ever-changing and ever-evolving. This month, perhaps Xbox One X is indeed the strongest there is, but another console will surely swoop in with better specs and surpassed it. Perhaps next year, if not sooner or later. Trust me, this is coming from a proud Xbox360 owner, who still has the fully operational console and plays its numerous game titles every now and then, and who has consciously skipped out Xbox One due to the lack of interesting titles (aside from monetary situation LOL). What I'm trying to say is, I don't really see the point of moving on towards Xbox One X, at least in the near future. Which is ironic, because what seems to be winning over many gamers' heart, was none other than Xbox One's backward compatibilites. Yes, the exact thing that SONY has been failing to deliver for years, has become the big positive difference that Microsoft is generously offering. Said function will not be available until later this year, but it will support up to classic/original Xbox games! That's an era of 15 years ago, so we're talking about valid nostalgia boost here.

In the end, the common sense is the Xbox One X is NOT for everyone. But it's still all up to you to decide whether you want, NEED, or even afford to have one decorating your already-possibly-expensive home. Lest we forget, freedom of choice, is everyone's basic human rights, regardless of their financial ability *sigh*. This 'most powerful console' is set to be released on November 7th, 2017 at the mindblowing price of $499. I guess that's when its accessibility strength to the general public can truly be tested. So as always, we'll see...