Category Archives: Reviews
The biggest film of 2015 is finally here after years, almost decades of an excruciating wait for a true continuation of George Lucas’s original trilogy, something of which would attempt to eradicate the wholly mediocre memory that the prequels imprinted on the Star Wars community, whilst expanding the well and truly cherished universe for a whole new generation of young children who’s experience of The Force Awakens may indeed be their first taste of Star Wars on the big screen. With George Lucas handing directorial duties to renowned sci-fi enthusiast, J.J. Abrams, the man behind the reinvention of the Star Trek series, The Force Awakens was already heading in the desired direction with Lucas finally understanding that money can only go so far and what was truly needed with The Force Awakens was to return to the imaginative and truly immersive spectacle the original trilogy portrayed all the way back with the release of A New Hope in 1977. Has it succeeded? Is The Force Awakens the magnum opus of the Star Wars universe many have proclaimed it to be? Not exactly, but one thing is for sure, it is a resounding homecoming and like the original trilogy, a whole lotta fun.
Beginning once again with the legendary line of “A long time ago in a galaxy far, far away”, John Williams famous overture blasts onto our screens over the scrolling opening crawl that informs us of Luke Skywalker’s apparent disappearance and the rise of the First Order, a seedy, evil faction of the fallen galactic empire who are attempting to discover the location of the lost, legendary Jedi, an opening backdrop much more streamlined than the tax credit political nonsense that The Phantom Menace began with. So far, so good, and the film takes no time at all settling into the introduction of the both the film’s antagonist and protagonist with the Sith-ridden Kylo Ren being introduced through ruthless murder and an understanding of the force similar to that of Vader himself, whilst Oscar Isaac’s Poe Dameron comes across as the cocky, swaggering second shade of Han Solo himself, and already I’m sold. Within the first ten minutes of the film we are exposed to an understanding of the force unlike anything I have ever seen before and this is a riff played extensively upon throughout the course of The Force Awakens, resulting in a villain both ominous and ambiguous who is crippled by, excuse the pun, the force of expectation brought upon him due to his rather muddled family tree. No spoilers here.
Where Kylo Ren proves to be a real win in terms of the evil side of the force, the introduction of Daisy Ridley as Rey and John Boyega as Finn are welcome entries into the Star Wars universe, with Rey particularly being a strong, independent, and well-developed female lead, expanding the rather limited female base of characters established in the universe so far and for that I’m glad. Following in the footsteps of the universally recognised R2-D2 also, is that of BB-8, the orange coated roller-ball who, along with the return of Chewbacca, brings the greatest comedic elements of the film, particularly in a scene where it responds to Finn’s thumbs up which resulted in the entire screening laughing in hysterics. As for the return of the golden-oldies, Harrison Ford’s Han Solo is the obvious winner with him not only getting the greatest screen time, but also the best lines, most of which hark back to the original trilogy or his relationship with his favourite Wookie, a true bromance is ever there was one whilst it is his character which takes the front-line in the film’s most shocking twist, a cinematic moment on par with “I am your father”, and one that is set to send shock-waves across the Star Wars universe.
As for the film’s production, The Force Awakens is a particularly handsome movie with spectacular scenes of vast, endless landscapes, gorgeous looking CGI spaces battles, and a unnerving attention to detail that highlights the love and dedication to which the film has been made with. Where the film ultimately succeeds is in its’ sheer diversity to the prequels, with the dodgy CGI of the early 21st century being totally outclassed with the use of practical, real life props, giving the film that rustic aesthetic which makes you feel these places actually do exist and aren’t created on somebody’s computer, a brilliant change of direction, and one that leaves me reeling for more. For all the film’s brilliance, there are certain degrees of similarity in terms of plot which reduces the film’s overall originality, yet one can afford to overlook such weaknesses and exhale in relief. The Force Awakens is a true return to the magical wonder of the saga’s original trilogy, incorporating new, interesting characters whilst working a winning nostalgia appeal with the return of the series’ most famous faces. A real triumph. How many years until the next one?
Overall Score: 9/10
The hype is real and totally worth it!
Usually in these duo reviews it seems that I’m the one to poke holes in the plot, but I don’t know if I’m “fanboying” too much while mentally blocking most of them out. There isn’t many films that I would say that I’d gladly sit in the cinema and watch again, back to back, but I would for this. If you haven’t yet, go see this film!
As obvious as the statement is, this is undoubtedly a Star Wars film. What I mean by that is that it feels like a continuation of the originally trilogy. J.J Abrams decision to use more costumes and animatronics instead of relying solely on computer effects is a noticeable improvement, bringing a more organic feel to environments and sets.
The return of the previous cast is a welcome sight and a good measure of the passage of time. good to see that none of the previous actors have forgotten their roles despite it being 32 years since they were last in their characters shoes. Moving on to the new characters, as Dan said huge praise for Daisy Ridley’s character Rey, loved the character progression which was done at the right pace. Along with Oscar Isaac’s character Poe which immediately resembled a Han Solo personality and humour but thankfully not to the extent which he mirrors him. John Boyega’s character Finn slightly recalled me to how Luke was in the original film. Its often hinted throughout the film that there is something special about him but he struggles to become it but that’s not say that his character doesn’t also make loads of progression. I’m sure I wasn’t the only one who left the cinema wanting a BB-8 for Christmas. The lovable droid despite only commuting with limited gestures was hilarious and adorable even more so than I dare say R2-D2.
No Star Wars film is complete without the Dark Side. Though I admit I was originally sceptical to Adam Driver as the First Order’s Kylo Ren, however, he did an impressive job…while the mask was on. Without the mask he just didn’t seem as big nor as threatening, yet maybe that was deliberate. What Kylo Ren can do with the force though brings a new evil with the Sith (torture) and I love his character for that.
One little complaint I have would be with Gwendaline Christie’s character, Captain Phasma. Despite being one of the most advertised characters her role was minuscule with hardly any dialogue. She didn’t even fire her blaster once! Hopefully she will have a larger role in the future upcoming films.
The fight choreography is perfect for the setting of the film. No force triple back flips or over the top dance fighting which is how it should be. Every swing has the characters emotion in it, along with the amazing camera work and epic music it creates truly enjoyable fight scenes.
After watching the film you can clearly tell that J.J Abrams is a huge fan of the original trilogy and directed “The Force Awakens” for fans. Its safe to say that he hasn’t let us down at all. There are throw backs to the previous films but not so many that we are chocking on it or that it disrupts the pacing of the story. I am really looking forward to seeing what happens next and hopefully it continues with this momentum.
If this had came out before I did my top 5 this would’ve easily been my number 1!
Rise of the Tomb Raider – Xbox One Review – Buy this game if you want to creep out your neighbours! – SPOILERS
Many moons ago, Josh reviewed the first instalment of Crystal Dynamics’ Tomb Raider revival and spoke in detail about how much he enjoyed it. A few months later, I got my hands on it and loved it to pieces also, but will the latest episode hold its ground to its epic older sibling?
In all reality, its a huge disappointment that has left me rather bitter. The previous Tomb Raider was an all-round quality game. Its visuals were impeccable, gameplay was fun, different and based heavily on survival and the story used that. It developed the origin story to one of gaming’s most prominent characters that is loved the world around, whether its through movies or gaming. Rise of the Tomb Raider is a shit show.
Every single advert I saw brought huge attention to their review quotes, the Daily Star in particular said “Visually Stunning” and threw a whopping 5 stars its way. So, lets begin with that. First of all, its the Daily Star, so I don’t need to go much further with that. Secondly, why are the visuals selected over everything else within the game? Well that my friends is because that is all this game has. Beautiful landscapes, levels, tombs and character details do not make a quality game, just great quality cutscenes. And trust me, you’ll see plenty of those. In fact, so much so that you’ll wonder if you’re the one playing the game. Now, don’t get me wrong, I play Telltale games and they’re big, explosive adventures with a storyline so gripping, you can’t help but feel like you’ve lost a little bit of your soul when you lose a beloved character, and the majority is a sequence of cutscenes with varying quick time events (QTEs) and doesn’t have much in the way of raw gameplay. But this. This is shameful.
So, its “Visually Stunning” and hell, I can agree with that. Until it comes down to animations. When you move around the map, all is fine, its when you are involved in the action that it really falters. Running through endless hallways from a threat that can’t hit a barn with a minigun from 30 yards is something you experience often and explosions miles away from you fling you whether you were near it or not. Say you’re a little slow and something crashes through the wall ahead of you, instantly you’re thrown into the wall as if it had actually hit and that is just poor planning. Like it or not, this shit happens way too often. Climbing up rock faces, boundaries are ridiculous and cause Lara to spaz out trying as she tries to work out which direction she wants to go and if you approach a ledge, you’re lurched up onto it with a body that seems to be able to do the impossible. Not to mention the absolutely retarded falling mechanic which often freezes her mid-jump as she floats to the ledge that she may or may not decide to grab which results in a frozen corpse falling down the crevasse with a solid thud at the bottom.
On the topics of thuds, I’ve got to be honest, I would have loved a lot more focus on sound and music. One thing that should have been worked on is the voice acting. Sure, Camilla Luddington does a good job as Lara. We saw that in the previous, but lets get to the brass tacks, I don’t want to listen to a symphony of her moans and groans as she jumps across sections in what can only be described as a mass orgy porn flick. With little knowledge of what is actually going on next door, your neighbour may never look at you the same. Not to mention that any element of stealth is thrown out the window as the groans echo across the cavern like smashing a plate in a crowded restaurant.
What of gameplay? Well, as I said, stealth is something that honestly makes no sense. Its use in the game is to reinforce the survival aspect involved but also the fragility of Croft, however its of no use. Very few sections require stealth and when they do, you’re tasked with killing everyone in the area rather than moving around and escaping the danger without turning into a one-woman army. Not forgetting the fact that you fart loud enough and everyone knows where you are, even if you’ve skulked off quietly in another direction. So, what happens next? Well, that fragile girl that is fighting for survival pulls out an AK-47 and mows down anyone near and crafts a menagerie of grenades and weaponry to kill them with varying degrees of brutality. Now I’ve spoken about character animations, but lets talk about her role as a historian. This “archaeologist” is armed from the get go but also has a distinct lack of interest in preserving anything. Everything she touches breaks. This so called archaeologist has broken everything to get one thing that, spoiler alert, she breaks! She kills hundreds of people, murders countless animals to get new crafting materials and destroys anything she touches. At Least Indie had the decency to kill Nazis. But lets not stop there! How about all that progression she made in the original game? She’s forgotten it all. Literally everything has gone. It seems as if she survived, only to suffer a concussion when she got on the plane home and that really halts the immersion for a returning player. Perhaps if there was a bigger push towards weapon upgrades, progression and skills could have been done through that medium, not by erasing all previous progress.
Now we hit the real big issue, the story. Honestly it is a huge cluster fuck of sexual tension and daddy issues that make pornographic plot lines seem clever and highly under appreciated. Trident, a group of bible bashing Christians are after a tool for immortality that was created by Jesus. We track it down, they follow us, a twist occurs that was as obvious as an Afro-American at a KKK clan meeting, we find Jesus and escape together with the sexual tension so thick, you’d give Donald Trump a run for his money. So we are up against a bunch of clueless, delirious, religious nut jobs with a shit ton of money. Only to find out that this Trident force aren’t done yet! We’ve got another one on route, just this time we might get away without the infuriating daddy issues that turned a survivalist into a drag.
Its not hard, I’m sure you’ve caught my drift by this point. Its not the Tomb Raider I wanted. Its not what should have been. You can’t polish a turd and it seems like the graphics department tried their best to cover up the story that seemed apt for a teen novel. Including the removal of the rather enjoyable multiplayer scene, this game has taken a huge leap backwards rather than innovating and giving their loyal fans hope in a system of games that annualise the same thing year on year for inflated prices only to be slapped with a season pass on launch that costs an extra 50% that adds little to the experience in a game more baron than Katie Hopkin’s soul.
6/10 – This is becoming all to common.
“None Of This Makes Any Sense!”
As a huge advocate of horror movies in general, this week’s episode of Doctor Who attempted to hop aboard the well-and-truly-used trope train that is the “found footage” genre, a film-making technique that has now begun to strike fear into the heart of many critics who believe the invention of franchises such as Paranormal Activity and subsequent admirers, including this years’ terrible The Gallows, have well and truly sealed the fate of the once ground-breaking mode of movie-making which although came to the attention of many with the release of The Blair Witch Project in the late 1990’s, can be traced all the way back to the release of Cannibal Holocaust in the mid-1900’s. For me personally therefore, “Sleep No More” was bound to be an interesting and slightly off-key episode of Doctor Who, yet the signs were inherently positive from the beginning. Doctor Who meets The Blair Witch Project? Sounds unmissable in my book.
Beginning with a notable dismissal of the opening theme tune and credits, something of which I believe has not occurred throughout the shows’ 52 year history, we are introduced to a spectacle-wearing mystery, a man who appears to be the last survivor of a deserted space station, and a man who is very clearly telling us not to watch any of what is to come in the next 45 minutes. Intrigued? Sure, and add into the equation a minor rescue squad and the rather swift introduction of some rather eerie deathly creatures, this weeks’ episode sets the tone straight away, with “Sleep No More” essentially being Doctor Who meets Event Horizon with a dash of Blair Witch, and it’s rather brilliant. Although it can be easily argued that Who has kind of missed the boat when it comes to embracing the lost art of the found footage genre, it can also equally be argued that with all the nonsensical releases that adhere to such a format released in the past few years, that Who in 45 minutes has accomplished what some feature films completely miss out on, a sense of threat and drama which uses the found footage technique to its’ advantage in creating a spooky and fundamentally organic episode of Doctor Who, of which, I believe, will be one of the most memorable episodes of the Capaldi era in years to come.
Where the episode strangely both succeeds and fails is in its’ attempt to coherently paint a picture of what is actually happening aboard the spaceship, with the Doctor’s ramblings of “None of this makes any sense!” essentially mirroring the exact same feelings from the viewer with Mark Gatiss’ script obviously attempting to be rather ambiguous in a similar vein to last years’ Series 8 episode, “Listen”, a trait I believe will cause some viewers to underrate the episode because of its’ desire to not paint out a whole picture by the numbers and instead leave it dangling by a titillating thread. Ending on a rather spooky cliff-hanger, “Sleep No More” continues the trend of Series 9’s surprising consistency, mixing the found-footage genre in with the sci-fi wonder that is The Doctor and Clara’s ventures around time and space, making it for me personally, one of the best of Capaldi’s reign so far.
Overall Score: 9/10
One of the biggest games of the year has dropped. We are back in the Wastelands of Boston. A lone Vault Dweller on the hunt for their son, armed with an arsenal of guns and some rusted power armour. We are a pre-war relic who watched the bombs drop on the US. We fled to the Vault and were lured into cryostat chambers that froze us for over 200 years until one day we wake, in a daze we watch as our wife/husband’s casket is opened and the baby ripped from their hands and a bullet lodged into their skull and then we freeze again. Waking up again, we manage to escape and witness the effects of the experiments created by Vault Tech industries and we stagger out into the open to see what happened to our home. Now, this is as much as a can say without dropping some big spoilers but considering I’ve only logged in about 25 hours of gameplay so far and 5 of those are in the actual quest line, what little I have experienced so far is fascinating and incredibly engaging.
My experience with Fallout is very limited. I’ve watched gameplay footage from the first game and played a few hours in Fallout 3. I enjoyed the experience but I got frustrated when I ended up wandering the wasteland in zones way to big for me. So much so, I got lost and never managed to make it back. Since then, I’ve matured (a little) and have experienced the ever amazing Skyrim and find myself more than competent to progress through this. So I’m not fully versed into the narrative of the world but I know the lore behind the Vaults and the effects its had on the world and the mutated wildlife that has taken control of the environment.
Obviously as a company they would have cut a few corners to make them optimum for next generation consoles and this has been done by utilizing various parts from previous titles such as the animations from Skyrim. Now this isn’t too much of a problem. For something so large scale, I tend to be a lot more lenient but a little variation wouldn’t go a miss. Now here is the big issue that people raised prior to launch and that was the visual quality. Trailers made it look a little cartoonish but dropping in myself, I think its a gorgeous art style for a world ravaged by radiation for 200 years and it is much easier on the resources available. Now this hasn’t stopped the game from loosing frames rapidly when loading areas and in combat situation and that comes down to poor optimization across the consoles which could have been resolved had it been play tested correctly. Otherwise it looks fantastic and the quality is fantastic. Sure, its not Square Enix levels of detail with incredible hair physics but its good enough.
As it stands, I had no idea what to expect from this. With the rate of triple A titles dropping that suck and the bombardment of early access games supported by industry giants that really don’t live up to their own hype and run when shit gets difficult, faith in the industry is a little fractured, just look at the PC port of Arkham Knight. I had prepared myself for the worst. I worried about wandering off into the wasteland and never coming back home armed with nothing more than a kitchen knife, but I was wrong. I love it. I was hooked within the first 20 minutes. The opening sequence, War Never Changes is one of the most striking cinematics I’ve ever seen (Click the link to watch Sip’s playthrough and experience the opening cutscene and some gameplay). Its a gorgeously filmed and animated piece that shows you the events that led up to the “Great War” that created this lawless world as narrated by our lead man. As the cutscene disappears, we are greeted by our narrator and his wife looking in a mirror readying themselves for the day ahead, this is our character customisation and creation. The customisation is a bit of a fiddle but its extensive and deep enough that you could almost create yourself. All the way through the process, both of the characters chat, little bits of information around items you’ve just changed from witty quips to cute interactions that made them feel so human, so real and then you begin your day. Walking to the crib of your new born to say morning,greeting your robot babysitter that does all the dirty jobs around the house and living the daily routine while the news chatters away in the background. We all know the bombs are dropping and shit goes wild, I won’t ruin anything from here for you but its such a touching experience that gives the characters an incredible amount of story in such a short space of time, even if the baby does look like its farther was actually an alien…
How about its core mechanics? The shooter aspect is very clean, weapon variation has been fairly limited and buying weapons is pretty much a definite no no. Modification of the weapons is the best way to increase your chance of survival and they’re giant, from tons of saw blades too new receivers and various other pieces that physically change the aesthetic of the weapons too. Alongside the classic VATS system that now slows time down, means you have to make on the fly choices on where to hit and the estimated damage can significantly drop by the time you accept your desired choices. One of the biggest talking points is the power armour. The Fusion powered heavy armour that gives you a huge level of strength and protection is great fun and getting it from the start of the game allows you to survive the harsh environment a lot more effectively, however, its cumbersome to obtain the Fusion Cores to run the armour as they either cost a fortune or you have to find locations and caches out in the world. I, however, stole a ton because the guides online were actually wrong for my playthrough. If you were playing the Fallout Shelter app that released earlier this year on the reveal of the game, you’ll love this next section. You can have bases. You craft items, make sure your people have beds, food and defences to protect them. Its a cathartic experience that I’ve spent an unhealthy amount of time and effort working on. It doesn’t have much of a purpose yet but its a typical thing that would appear in such an environment. As for the rest of the core mechanics, many are derived from Skyrim. Slight differences in skill management but the typical dialogue tree is very basic and doesn’t allow for a variety of choice dependant on skill.
To sum it up in the briefest ways possible, we are back in Skyrim. They’ve taken something successful and implemented it into one of their other titles and added a load of extra little features. If you enjoyed Skyrim, its a guarantee that you’ll love this. The Music is phenomenal and side quests are really where your time is going to be spent, whether you mean to or not. Its a game that is going to last. Not a 6 hour campaign with so many hours of multiplayer that is a literal repeat, over and over again. Its varied and probably has a good hundred or so hours crammed in that are immersing and engaging. Its taken pieces from other titles, albeit bearable, there is no variation between them and that really knocks it out of you and characters have no facial expressions with very little mouth synchronisation in conversation which is fairly poor for new titles. Considering that is is highly addictive and I’m shooting through this, just so I can get back to playing it is testament enough to how enjoyable it is (I’ve hardly been on ARK too!). At £40, its value for money. Its not often that you get hundreds of hours playtime with very little bugs and glitches. There are a few glitches, one has surfaced in the last few days that can crash the game completely across all consoles and I’ve witnessed mutated bears moonwalking up trees but for the current gaming era, its got most of its shit together and thoroughly deserves..
PS – Deathclaws be scary
About 6 years ago, I began my foray into the Call of Duty series with Modern Warfare 2 for my brand new Xbox 360. MW2 is the most beloved and coolest CoD game to date, ever since, I’ve made sure to get my hands on them and play them but nothing lived up to Infinity Ward’s quality. The game took a huge hit with Black Ops. It’s quality was naff and it’s general gameplay and story were duller than a blunt kitchen knife. It seemed a trend but does it stop here?
Well…Not really. We are 40 years after the events of Black Ops 2, subtle references to the villain of the past give reasoning to the huge amount drones and their constant reliance on something so easily manipulated, as we keep finding out. We are a nameless character, male or female with the ability to choose from a selection of facial pre-sets. The male voice is played by Farscape’s Ben Browder and the female by Abby Brammell. We are also joined by a whole host of faces and names throughout from Christopher Meloni, Neal McDonough, Ron Perlman, Robert Picardo, Jeff Goldblum, Tony Amendola and the legendary Nolan North to mention a few. Its not only their voices, many of them have their faces digitally mapped into the game much like Advanced Warfare’s Kevin Spacey and Troy Baker to create another selling point. Now sure, they look good and it was cool to see a few familiar faces but it didn’t add much, especially when you watch the movement of the faces during dialogue and all you see is an empty black hole into the abyss. I wouldn’t have been surprised to have seen someone’s hand and a couple black lines from the side of the mouth too their chins. As for the general voice acting, its was alright. Now we shift to our character. The need to even create one is rather obscure, you only see yourself in a few transitions prior to levels and in game cutscenes, so its general need could have been fulfilled in a far more practical manner – AKA, not have it at all. The quality of our face is also far less than that of any other character so its difficult to justify why they simply didn’t use their voice actors like every other character. Typically, as ever, there is a bad guy. We need to find them and kill them. This time however, its a “complicated” story of AI, CIA and biotech enhancements on your squad. Rather than spoil anything, you have a chip in your brain that allows you to control certain aspects of the world around you and give you advantages on the battlefield. But, we never started with this. In fact our first mission is us diving into Egypt to save a high ranking official. Upon rescuing him, we are treated to a rather impromptu massage from a defective masseuse that pulls a couple limbs off and uses them to beat me into oblivion. But all is not lost! Rescued by an elite group of operatives fitted with biotech chips, top of the line prosthetics and Meloni at the helm, the very same organisation that we join in return for saving our life. Now as a story, its lives under its own guise of “oh so complicated” when in actual fact, its a very basic story that decides to throw some of its Nazi zombie features in for no apparently reason other than, “eh, fuck it”. Character development is non-existent and the attempted love/relationship story arises from nowhere and vanishes quicker than a fart in the wind.
So what else is there? Anything new you may be asking?. Well there are a couple things. One is the biotech chips which give you a select amount of abilities that can control the flow of enemies and remove threats more effectively. Some allow remote hacking of devices for control purposes while others garner the ability to fuck shit up and implode combat drones. They’ve also reduced strafing abilities from AW, only giving you a forward slide which is a faff in general as its only engaged while running at a certain speed so its a little bit annoying for sliding between cover. It’s also taken another leaf from AW but we all know that this leaf came right from Titanfall and that is the wall running ability, but this time you have to unlock it with points rather than it being part of your super solider get-up and its a really clunky affair. Its not smooth and its hardly used. Unless you’re like me and it suddenly appears that you need it to cross a gap for 1 section and you didn’t unlock it because it was already part of your training and you presumed you still had it!…
Visually the game looks sharp. Some textures aren’t perfect and as I’ve already mentioned, faces lack a good form of animation and suffer from looking like clay or wax models. But its not all bad. The UI HUD is fantastic. Very simple and easy to use and the tactical elements included give some great guidance throughout and reveal kill zones and enemy locations. However, when setting my safe boundaries, loading screens prior to levels completed ignored that and cut the majority of the level names out which was a rather infuriating issue that bugged me consistently. The music is okay. Nothing dramatically amazing that sticks to mind but the sound effects need toning down. I was playing with the stereo output via the controller with my Razer Kraken Neon Pro’s at a decent level but voices were often distant and the explosions were physically painful.
Now, multiplayer. The only reason anyone buys these games? Probably. My experience is short and it’ll stay that way with Fallout 4 on my lap, Tomb Raider on the back of a truck on route to me and Star War Battlefront so soon after. I opened it up to be greeted by a selection of classes. Typical destroyers and abilities were attached to them which would have certain effects within the game, their genders can’t change but they have a variety of customisable pieces. So, jumping into my first game, I’ve already been kicked out of 3 and joined lobbies where nothing happens at all. Team balancing takes an age and starting and getting into a game is just agonisingly long when you just want to play a single round. Perhaps its the Xbox’s awful wifi receiver connection or perhaps its the CoD servers being rammed or more than likely, a combination of both. Levels gained in the campaign also do not affect the online multiplayer meaning that it is useless to have such an unnecessary mechanic. But considering I finally managed to make in into a game, lets talk about it. Bearing in mind it was one map and my only match so far, it was alright. I fell off the high-rise building a few times and often got myself lost looking for people who blended into the environment making them rather difficult to see. Upon entering the round, we are greeted by a League of Legends (Maybe Dota, I don’t play it) player roster that details the enemy players and what class they are running, once again, a pretty useless addition that tries to give the illusion of strategy to then round out the match with a podium finish of those who performed the best that features a short bit of dialogue from the top character. Honestly one of the most cringy experiences I’ve ever had to witness in a game. Now here is my biggest gripe. I can hear where the enemy team is. Not because of their footsteps or movement but because the characters are screaming and shouting. In close quarter situations, its becomes a cluster of shouting that draws more and more people in and any element of surprise is removed when some bell shouts “Enemy down!” at the top of their lungs.
Now has the game changed? No. Not at all. If you scrap all of the tiny little additions of the player rosters and the “new guns” You’ll probably see the lifeless corpse of Treyarch’s World at War and Infinity Studio looking back in disgust at the desecration of the classic Call of Duties that made the series such a big hitter in the market. Now, I don’t think we’ve seen the end of it. In fact, I’m sure it’ll continue for a few years now with the same dull and boring story with minute mechanic changes because its audience so wholly digest it, they cannot actually comprehend that the series is simultaneously fucking them while gradually feeding them more content so they keep their mouths shut. We are left with a series that is watching its audience become self-aware (perhaps that’s what the story was really going for) and see what they’re paying for year on year.
Use Cara Delevingne as much as you want. It ain’t going to make the game good! 6/10
Buy it cheap, play it for a few hours and watch as the map packs destroy and displace the player base.
“You Have Left Us With An Impossible Situation, Doctor…”
This week I have to admit to taking a slight and minor kop-out when it comes to our weekly review of Doctor Who wherein instead of focusing on just one episode, I felt it was plausible to review both stories of the returning Zygon menace at the same time due to not only having all the facts and all the answers to the questions from both parts of the story, but mainly because it fits in rather well with my over-burdened work schedule (Screw you real life!). Returning from their short stint in the 50th anniversary episode, “The Day of The Doctor”, an episode where we were left with the notion that the remaining Zygon threat had successfully been integrated into society via that of a rather flimsy peace treaty, “The Zygon Invasion/Inversion” focuses on the uprising of a rogue Zygon threat, hell bent on releasing chaos throughout the world whilst attempting to break free from the secretive nature of their newly found Earth-based lifestyle. It is no surprise that this season of Doctor Who has definitely been more on the solid and consistent side than those previous with the return of the two-parter no doubt being one of the many reasons why with this week’s story only adding to the quality that has been inherent throughout this year’s entry into the Who canon so far.
The fundamental image that comes to mind whenever the Zygons are on-screen in Doctor Who, whether it be their first appearance in the 1975 Tom Baker serial Terror of the Zygons, or in today’s NuWho, is that of the alien race present in the many versions of Invasion of the Body Snatchers, a tale in which the titular “body snatchers” slowly take over the earth by hatching duplicates of those they have captured and then integrating themselves into society. Sound familiar? Of course, but what this week’s tale effectively managed to do was increase the paranoia and sense of unknown of which the alien Zygon race automatically bring about with them whenever they appear on our screens culminating in a rather spectacular appearance of the “evil” Clara, a Zygon doppelganger of our beloved companion who tortuously attempts to bring about the death of not only Clara, The Doctor and that UNIT, but the entire world, with Jenna Coleman clearly having bundles of fun with her newly found evilness in such a role.
Where part one of this latest Zygon tale sought to show the uprising of the Zygon threat, the second part ultimately concluded in a resolution that not only was similar to that of the discussion that took place between human/Zygon Kate in “Day of the Doctor”, but also gave Peter Capaldi another chance to shine, with his speech in which he describes the horror of war and the consequences it brings being another accolade in the Twelfth Doctor’s already star-studded reign as the travelling Time Lord, a speech both incredibly heart-felt and powerful whilst being incredibly apt for a British audience in terms of its’ relevance to Remembrance weekend. Not only does “The Zygon Invasion/Inversion” show how the two-part format most definitely has added a new level of consistency to NuWho, but it also shows that when a story is given that extra amount of time to breath and to metaphorically spread its’ legs, can result in a quality that may have been absent if squeezed into the relatively short and rather familiar, 45 minute time slot, something of which we seemingly are returning to next week in the Mark Gatiss penned, “Sleep No More”. Will it hold up to the quality of Series 9 so far? We shall see.
Overall Score: 8.5/10
Let’s get straight to the point, I’m no Halo fanatic. In fact, I didn’t care very much for him. I picked up the series from 3 and just enjoyed shooting stuff. Even more so when I probably paid £20 for the lot making it worth the investment. Now I thought I’d change that and jump onto the pre-order bandwagon for Halo 5. Was it worth it? Hell nah
For anyone who has read previous articles, you’ll be well aware that I enjoy story. Halo’s trailers depicted a rogue Master Chief being chased down by another Spartan called Locke; a hench dude with a a beard that looks like he’s drawn it on with a whiteboard marker. Surrounded by rubble, the 2 variants features both characters in vice versa roles drawing their weapon to shoot the restrained one. The whole world appeared to be mourning the death of Chief and the whole thing looked very distopian. Jump into the game and its dramatically different. There is only one confrontation between the characters and this is just over the halfway mark in the game, so about 3-4 hours in and lasts a mere 30 seconds. Chief isn’t dead and the world has a far different threat to deal with. SPOILERS – Its Cortana. She’s gone batshit crazy and is now planning to police all of the known worlds with some crazy machines. Here is the problem, after 6-8 hours of gameplay, the story isn’t actually finished. The credits roll, the game is over and you’re left wondering why you spent a fortune for something that wasn’t even complete and drags a story so dull and lacklustre on for another instalment. I’ve played indie games for longer that were cheaper and far more enjoyable. It’s the perfect depiction of a cash cow and it’ll become another yearly game that bleeds money from its consumers because some mechanics are slightly different and the multiplayer maps have changed – aka Call of Duty.
Don’t get me wrong, I enjoyed my experience of shooting stuff on platforms, moving on and rinse and repeat a hundred times, but I’m a different kettle of fish. I’m not there for multiplayer, I’m here for lots of fun and I didn’t get that. We’ve established that the story was pulled from the inner rim of a public toilet but lets talk about everything else wrong with it.
- Its recycled
- Characters and Voice acting were rather dull (Sorry Nathan Fillion, you don’t sell it)
- Weapons lack diversity, power and ammo. Seriously, how the fuck does it take a full magazine to kill one enemy!?
- No diversity in enemies. They’re dropped in from the beginning and they never change so levels don’t ramp up in difficulty, they just add more
- Repetitive zones and boss – Literally, its all the same
- God awful boost mechanic which moves you about 3ft at a time
Its not a long list, sure. Yet its a big list when the only things I can draw from it that are actually good are the visual cut scenes,general graphics and the sound effects. Many people worry about triple A games and the reviewers who cover them for the big publications and so far, these big guys have talked up and marketed these titles as some of the best games ever. I simply cannot agree and with complaints and rumours of paid promotions and reviews by these publications, its not looking good.
I’m currently debating selling or returning this item because it was honestly a bleed on an already tight purse that didn’t give its customers what they really deserved – A game for the people, not for the bank account.
6/10 – Tune in next time to see the gradual decline of triple A games in record time
After the enormous success of Sam Mendes’ Skyfall back in 2012, a film which celebrated Bond’s fiftieth anniversary in rather spectacular fashion which not only gained sumptuous critical plaudits but also managed to become the highest grossing movie in the UK to date, any potential follow up was set to be under a huge amount of pressure from the outset, yet the return of director Sam Mendes and the continuation of Daniel Craig as the world’s greatest secret agent put Skyfall’s successor in rather safe hands, strengthened not only by the return of the titular SPECTRE, the seedy, shadowy criminal organisation last featured in Sean Connery’s Bond swansong Diamonds Are Forever, but by the inclusion of cast members such as Lea Seydoux, Monica Bellucci, and the two-time Oscar winning Christoph Waltz. Although the shadow of Skyfall’s success was inherently creeping up on the newest incarnation of 007, Mendes himself made it clear that Spectre was set to be a very different beast indeed, and within all the explosions, helicopter battles, car chases, and secret lairs, Spectre grabs all the best bits of the Bond canon and ramps them up to produce a highly enjoyable blockbuster, reminiscent more of the camp, gadget-induced Bond of years previous whist nicely tying up the plot threads that have been rife since Craig’s first outing in Casino Royale.
After Bond (Daniel Craig) is sent a cryptic message from the past, he is sent on a journey to discover and unravel the secrets of the seedy organisation SPECTRE, a criminal organisation at the heart of Bond’s past. Whilst M (Ralph Fiennes) battles forces in London with the newly appointed C (Andrew Scott), the head of the newly created Joint Intelligence Service, Bond seeks out the truth behind SPECTRE with the help of Madeline Swann (Lea Seydoux), the daughter of an old foe, in an attempt to destroy the organisation’s evil deeds once and for all. If Skyfall came across to the audiences as a much more elegant, character and emotion driven piece of cinema, helped directly by the handy-work of not only the acclaimed Sam Mendes but the long awaited Oscar recipient, Roger Deakins, then Spectre attempts to completely divert away from repeating the trick once more and attempts to go full on 80’s Bond mode, with much more action set pieces including a brilliantly tenses opening scene and a bruising and bloody fight on a sleeper train, nodding back to Bond’s fight with Grant in From Russia With Love. Aside from the abundance of action and wasted ammunition, we witness Bond well and truly stamp his passport with him travelling across the globe from Mexico City to Rome, from Austria to Morocco, all of which are beautifully shot by Interstellar cinematographer Hoyte van Hoytema, eventually leading back to the capital city of London for the final act.
With Christoph Waltz on the payroll, Spectre was inevitably going to buildup to certain revelations regarding the character of Franz Oberhauser, all of which were done in an overly entertaining and eye-winking manner, something of which as an overtly dedicated Bond fan, I couldn’t resist from laughing at with sheer joy, particularly when we are treated to a shot of a rather fluffy particular breed of household animal. Although Waltz isn’t in the film long enough at all, the camera is completely transfixed with his eerie demeanor each and every time he appears, starting with a completely blacked-out board meeting in which he quietly whispers instructions to his dedicated servants, and resulting in a tense revelation scene within the confines of a 21st century update of a well-established Bond lair, complete with hideously ludicrous torture equipment, and the coincidentally accessible escape vehicle, all of which our favourite super-spy uses without question. Kudos to the film-makers for not choosing to kill off our underused villain, restoring faith in the notion that you can’t have too much of a good thing. See you around Mr Waltz.
Uproariously entertaining and extremely watchable from the outset, Spectre fundamentally wants to be everything that Skyfall wasn’t, with an abundance more amount of action, brilliant comic timing from the likes of Ben Whishaw as Q and Fiennes as M, with one scene in particular with C bringing the whole audience to a spout of laughter, and a much more laid back temperament, harking back to the gadget strewn Bond era of Moore and Brosnan, with Craig ultimately having fun with the role as the world’s great agent, who this time does get the girl in the form of Leas Seydoux’s Madeline Swann, a rather perfect match for our battle-worn Englishman, who breaks from the reigns of cliched Bond girls and actually comes across as a three-dimensional, intelligent female in the land of Bond. Who would have thought? If this is to be the last round for both Craig and Mendes, it sure is a fine way to call it a day, with Spectre being pretty much everything a Bond fan in the 21st century would want from the opening credits. Farewell Mr Craig and Mr Mendes, it’s been emotional. Unless you do one more. Please. Please do.
Overall Score: 9/10
Bond Is Back! (Couldn’t help myself with that) to finish what was started all that time ago in Casino Royale (2006), which luckily I decided to watch the previous night at 01:00 in preparation, and if I had the time I would have watched Quantum of Solace and Skyfall but I digress. In terms of Spectre therefore, I have to start with that opening. It isn’t a Bond film without a slow song mixed in with silhouette ladies dancing along. I personally loved it with the visuals mixing in well with Sam Smith’s chart-topping single “Writings on the Wall” which felt like it was written directly for the film and is one of the reasons why I am listening to it now non-stop as I write this review. Back to gadgets (*Face palm*) where despite in Skyfall Q saying they had gone past explosive pens and other absurdities, here we are only one film later with explosive watches! A problem with gadgets is that they are always used in obvious situations and act almost like the “get out of jail free card” on a monopoly board, resulting in such tropes feeling as if the film-makers were trying to justify product placement by giving it an actual role, which of course will result in hundreds of people attempting to buy such objects (Yes, I did have a look myself).
Daniel Craig’s Bond this time feels much more refined than he was in Skyfall with Craig being back in top form in both athleticism and wit, therefore being much more comparable to previous Bonds instead of the raw violence seen in his previous outings. Oscar winner Christoph Waltz’s performance as Oberhauser was enjoyable to watch however, I was disappointed with how the character was written. It seems we are back to villains seemingly playing tempestuously with their food (James Bond) who in the meantime share their master plan away whilst giving too many chances for the hero to escape. I mean come on, what was the point of that torture scene, a scene which felt weak in comparison to Casino Royale’s chair and bollocks scene, with Spectre’s particular torture scene having few too many chances where Bond could easily slip his head out from the chair. Throughout the course of the movie, Oberhauser had more than enough chances to put a bullet in him and even had the chance to destroy him once for all in the final act. I mean why not set the bomb for 2 minutes and fly away instead?
The car chase with Mr Hinx (Dave Bautista) was a fairly big disappointment with it being more comical than action based, with the chase itself rife with comical perseverance in which it hardly showed what the cars are capable of. Another example of undermining the action for comedy would be in Mexico City, in which we witness Bond falling through decaying buildings only to land square on a conveniently placed sofa. Yes comical, however incredibly childish. Not all of the action within Spectre was lacklustre however, with the fight scene with Mr. Hinx (Dave Bautista) in particular being by far one of my favourite scenes of the movie, with the sheer amount of destruction against a towering foe is what I love about Daniel Craig’s portrayal of Bond. Furthermore, some of the jump-cuts between locations felt unexplained with vital clues seemingly being partially pulled out of a hat, making following some parts of the plot very difficult, to an extent that I would have to re-watch it in order to understand it completely, with the major one for me being linking the previous Bond villains just with single ring. I mean if it was the symbol on the face of the ring couldn’t they have linked all of these previous threats before without the ring? Surely so with one of them actually managing to kill the the previous “M” and blow up MI5.
Spectre seems to be returning Bond to its’ organic roots, with more wit than destructive violence, and with gadgets popping up Bond’s sleeve and into his car, something of which the old Bond fan in me loves, however it isn’t the Bond film I was expecting with Daniel Craig. Yes, you could argue that such tropes and traits is the result of his character growing into the older Bond we know, however his violent side was what we loved about him in the 21st century. Although the plot does seem to jump around quite heavily and it features some poor 1940’s villain writing, Spectre was highly enjoyable but I hope that’s that with Daniel Craig’s portrayal of Bond, with Spectre being a good note to leave Bond behind, particularly with Craig’s recent outbursts about regretting being Bond in the first place.
Overall Score: 7/10
As Dan has so elegantly described, Spectre harks back to its origins with its classic villains, witty banter and excessive action scenes. It was a very enjoyable film and sits as a very good blockbuster but personally, its sits outside of Daniel Craig’s Bond. When Craig first appeared on the scene, audiences were skeptical. A blonde hair, blue eyed Bond was very much out of the ordinary but he turned that around with Casino Royale and reinvigorated the series with a sense of realism and darkness that we’d never seen before in this particular universe. In Skyfall we actually get a far grittier and darker tale. Javier Bardem is his usual fantastic self, creating an extreme threat that even worries Bond and puts him through hell. Christoph Waltz in Spectre is the apparent mastermind behind the operation and Bond’s cruel luck that has seen him dragged through hell, but in reality, he isn’t scary. His background story is so cringe worthy, it seemingly fell from the latest teen flick, full of teen angst and jealousy of another child. Josh also speaks volumes for the progression of the story. It often felt that we moved too quickly. Links were being established and any sort of reasoning behind it was ignored. A simple ring linked to every villain Bond has faced so far through a somewhat over complicated scanning device and being the longest one so far, you’d suspect that it wouldn’t have been such an issue.
The classic Bond element didn’t hit me. After Skyfall, a lot could have been done and I feel that choosing to stray from the metric was a really poor idea. Daniel Craig has also been very vocal about not wanting to play the character any more as he hates him. It seems as if this is the straw that broke the camels back. The dramatic shift from a character torn apart by loss and the realities of his job only to be swept under the rug and made jolly with a lot of sarcasm and a new women. As a Bond movie, it was great. For a Daniel Craig Bond flick, it was alright. Visually the film is stunning and the action scenes were fantastic. The Aston Martin DB10 should have got a little more show time for the press it received but what little of it we saw was great fun. Some points with the awful taste in music of 009 and the empty ammo canisters screamed fond memories of Rowan Atkinson’s Johnny English and classic bond humour. The opening’s explosive Day of the Dead scene with the aero-acrobatics of a helicopter over the heavily populated area was amazing. Its not something we see very often and will probably sit with me for quite some time as one of the best stunt scenes of recent years. Although these are the guys who received the world record for most rolls of a car in a single take from Casino Royale so its fairly understandable that they could pull something like this off.
However, Spectre did have its cheesy moments, the final scene on the bridge in particular shunned the Bond of the past for Rom-com Bond. For me, I sit right on the wall. The run up and the hype was all well and good but I expected a darker, more emotional tale with a villain that was truly genius and mad as can be. What I got was a throwback to the classics that was fun but didn’t bowl me over. Visually and musically the whole spectacle was awesome and Sam Smith’s “Writing’s on the Wall” is an amazing theme song, albeit not as powerful as Adele’s “Skyfall” or Chris Cornell’s ” You Know My Name” but it captured the essence of what I really wanted from this.
Pete’s score – 8/10
Overall Score: 8/10
It’s that time of year again when our wallets and purses are left crying in the corner of the room, vacant and hollow – AKA: The greatest time of year for gamers. Triple A titles are raining down on us and today we start this with the first entry, Assassin’s Creed Syndicate.
Follow in on from the resounding success of Unity *cough*, Ubisoft continue the annual outing with Syndicate. Based in London in the late 1800’s we join Jacob and Evie Frye. Assassin twins with no direct connection to those from previous iterations but raised by an assassin family. Their mission is to remove the tyranny of the Templars from London and finish the grand master Starrick for good…So like every other game. In the current time line, we are back with Shaun trying to find another precursor artefact. Just this time we watch them through some floating camera drone cut scene that does nothing to progress the story or add anything vaguely interesting. It seems as if Ubisoft needed some sort of validation about what they were doing so they can keep this train a’rollin’. So, here we have it. A linear story with the same formula, rinse and repeat. Its alright if you ignore the simple changes that have gone into creating it. Like CIA black ops files, there are thick black lines over names and places and then Ubisoft takes it, rolls a dice and there you have it, your characters and location done. We’ve seen as of late that they’re picking up on this and are trying to diversify gameplay to reinvigorate the fan base. We see with Chronicles: China that they’ve been struggling to maintain the hype that was once reserved for their epic Ezio cut scene trailers layered with staggering music by now switching the gameplay dramatically to a stealth based platform/side-scroller. However, Syndicate hasn’t done anything new. In all honesty, its actually removed one of the more popular mechanics which was the sailing (don’t lie, everyone loved sailing the seas and blowing shit up in their OP boats). Understandably boating in London in the late 1800’s isn’t that easy but they have worked on liberation of rival camps and regions with your trusty rope launcher. That’s fun. Liberating an entire borough on London of its Templar/Blighters gang ends with a big brawl between you, your crew, the Blighters/Templars and the areas boss, unless you’ve already chased them down and spread them across the pavement with your carriage. Roughly 10vs10, the fight can end very quickly if you’re quick to catch the leader prior to the fight. Constantly upgrading and crafting new weapons and tools means you’re almost always ahead of them in fire power, most notably gun wise.
As ever, combat within the AC universe has always been extremely fun and violent. Finishers and multi-kills are now even more brutal which also intelligently use the wider environment to pierce your enemy to the wall or make them into your newest desk accessory. Multi-kills aren’t very often and require a setup so they don’t become tiresome to watch or do and the general assassinations are fantastic. Kicking the shit out of people is just so fun but every action seems to be a some super human speed that is impossible to achieve with such weaponry. However, it seems that every police officer, Templar and gang member knows the main characters. So the super secret assassins of the secret order are known by everyone in London and their hideout is as subtle as a streaker at Sunday Mass. This winds me up to no end. You cannot walk though a neighbourhood without drawing the attention of 20 people, murdering them and moving on rapidly only to get caught out again a few blocks down the road. Any reason to beat the shit out of someone I guess. Yet we do not have a non-lethal way to progress. If an objective says not to kill a police officer, I have to kidnap them individually and knock them out away from all their friends one by one. I’m sure if you have the patience to do it meticulously, you’ll find some way of bullshitting it but if you’re like me, flooding a quarter of London in Templar blood was far more appealing. I tell you what is not appealing though, the shitty boss fight at the end which is a simple sequence motion that is repeated 3 or 4 times with slight variations with an illogical starting point for the character in relation to the cut scenes. Now here is the real kicker, its not too buggy. I had my fair share of bugs the crashed my game, killed me and made progress through zones very difficult. One of those is when you enter combat and all attacks to nothing. You run about trying to get hit but you can’t do anything to stop it. Then we have the various audio bugs that didn’t sync with the on screen animations and the invisible enemies that you’ve managed to morph with the wall. But, nothing game breaking and in regards to Unity, that’s a winner.
Visually the environment was stunning. Landmarks and set pieces looked amazing and a certain WW1 memory sequence created some even more amazing pieces and interactions. Now, I play on an Xbox One, the lower spec of the next gen consoles and I’d presume that my experience is far less than that of the PS4 in comparison. Character variation was good but the city is so big, you see many of the same people hanging around and you’ve probably killed the same guys over and over. My only gripe visually is fluidity. Anything the characters touch that isn’t their uniform is stiff, like cardboard and the hair isn’t even smooth, in fact you can visibly see the pixels that make the strands of Evie’s hair. Its nice to see a female character in the main character slot but other female characters that originated in the gangs that were heads of the groups felt as if they were trying too hard to appeal to that section and really impacted the reality of what women actually had to fight for. The aim to put female characters in the games are fantastic moves, especially in the Creed and the Templars but the general gang populace, it wasn’t that way and feels more like pandering to the extreme voices. We do get a cheeky mention of women’s rights in the bonus WW1 mission which was very amusing and actually addressed the situation in a historical aspect that doesn’t shun the past but brings light to the horrors of the past. By all means, I don’t believe the games to be 100% historically correct but it brushed the social issues of the time under the rug by acting like it never happened and created an idealistic image in a fairly distopian story that still shows children being worked to the bone by factory bosses.
I wouldn’t say I come into the AC universe to see the best voice actors in the industry create art but the script needs to match with facial movements and convey the correct emotions where necessary but often enough Evie’s mouth moved very little and emotion was lacking, but in all fairness, the stories and characters weren’t so engaging that you could immerse yourself into the world and feel for the characters. Some felt rather attached to the sibling disputes while I felt them more of a nuisance and that the relationship wasn’t explored enough to get a solid grasp of who these people are, its only towards the end of the game that we actually hear any mention of their parents real names and a history on them but still nothing on our protagonists apart from the fact that Jacob smashes shit up, Evie fixes it. It felt more like a big blockbuster action movie that priorities excitement and general fun over script, dialogue and character depth and if I’m honest, I’m okay with that. Its been fun and I will certainly be going back to experience some more of the extra missions, potentially more WW1 missions and generally beating the shit out of people. How is that not fun!?
Worth the pick up – 7/10
Let us know in the comments below of what you think of Assassin’s Creed Syndicate and head over to our Youtube channel to watch all the shit I do over there!
“I Should Have Stayed At Mum’s…”
When it comes to a juggernaut of a release such as Spectre, there is always a few films that attempt to grab the minorities attention and attempt to sway them away from Mr Bond and his exploding watch. Unfortunately for those who part of such a minority, one of the few films release side-by-side Spectre this week is Paranormal Activity: The Ghost Dimension, the newest and supposedly last incarnation of the well-worn found footage franchise that began all the way back in in 2009 with Paranormal Activity, which to be fair was rather creepy and overtly intelligent, satisfyingly so considering its’ tightrope budget was well and truly recuperated around a million times over by audiences via word of mouth and critical praise rather than overblown advertisements and propaganda. Once the first film was seen as a highly effective money-making scheme, producers decided to repeat the process over and over and over again with The Ghost Dimension proving to be the final nail in the coffin of the original which in effect has been completely tarnished by the reputation of its’ successors.
Paranormal Activity 2? Pants. Activity 3? Bit better. Activity 4? Real pants. The Marked Ones? Completely pointless. Am I missing anything? Do I care? No. Neither seemingly do the film-makers of The Ghost Dimension who seem not to realise that the overly boring setup of found footage films nowadays is really starting to become rather grating with The Ghost Dimension ticking all of the many boxes of what you expect with such a movie. People filming the house? Check. Cleaning the lens? Check. Wobbly, shaky, running scenes? Check. Camera catching no-so-creepy entity and then people looking at it again therefore repeating the same scene twice just so our so called cast can catch up with stuff we have already seen? Check. Get the picture? The one redeeming feature of The Ghost Dimension is that it puts to bed the overly tedious and overstretched plot-lines that apparently connects all of the Paranormal series, something of which I couldn’t care less about but does make me happy that we will never see any shaky-cam captures of the demonic and stupidly named Toby ever again.