Tag: Playstation

GRAN TURISMO – Review

Hey, as the Summer movie season races (hint) to that Labor Day finish line (again), the studios aren’t quite done with toy-based stories. In that aspect, a new box office champ has been crowned with the “pink princess” zooming past those video game plumbing icons. Now, this new release leans into the latter’s territory as its roots are in the gaming world. Oh, and like the “under the radar” TETRIS flick, it is actually based on a true story, This isn’t a twist on the old “Cold War Cloak and Daggar” thriller like that one or even an “origin story” of the game’s creation. Instead, this is closer to an old-fashioned, grit and glory, sports underdog fable, Yes sports, as we follow one determined young man whose dreams become reality when he enters the world of GRAN TURISMO.


I should clarify that the film does begin with a bit of an origin story as the prologue tells of the FI racing simulation game from Sony PlayStation that became an international sensation following its debut in 1997. Its fame inspires Nissam marketing exec Danny Moore (Orlando Bloom) to pitch a radical idea to the auto giant’s board of directors. Monitor the online version’s biggest scorers and enlist them in a contest to find an online gamer who can (after rigorous training) become an actual racing champ. To Danny’s surprise, the bosses give him the OK, if safety is a major factor in this unique promotion. Now Danny’s got to find a racing vet to supervise the “plebs”, getting down to the last name on the list (lots of brisk “no’s”), the former driver now pit crew boss for rival Capa, Jack Salter (David Harbour). Many miles away in Cardiff Wales, college-age (he’s taking a “break” to be a “retail drone”), Jann Mardenborough (Archie Madewke) lives for the newest versions of GT, much to the chagrin of his former football star pop, Steve (Djimin Hounsou). The two really clash over Jann’s future goals. And then Jann gets a frantic call from his pal who manages an online video arcade/cafe. The Turismo game’s home screen is looking for him due to his impressive scores. He’s got to register online and then play the qualifying game at a specific designated time against gamers from around the globe. Despite a major dust-up with Dad, Jann makes it there, and thanks to the influence of his mum Leslie (Geri Halliwell Horner), he’s on his way to the GT Academy in Silverstone. There he quickly forms a bond with the other players from around the globe, while trying to impress Moore (he wants Jann to be more “camera-ready”) and Salter, who insists he’ll veto everybody f they endanger themselves and other racers. But Jann prevails and soon sets out to get his pro license (gotta’ come in fourth in at least one race), and garner some respect from the other pros (even his pit crew is leery of a “sim-racer”). When tragedy strikes, can this rookie charge ahead and make it all the way to the “24 Hours of Les Mans”?

Although he’s not behind the wheel, the film’s best performance is perhaps Harbour as the mentor in the pit, often barking orders into his communications device. As Salter, Harbour calls upon the skills he has honed after the last decade or so as the crusty but kind “pseudo-papa” on “Stranger Things”. Sure he uses a bit of his “snark” while butting heads, but Harbour also shows us the sadness in Jack’s weary eyes as he recalls his past regrets while trying to warn his young charge. After the recent HELLBOY “reboot/misfire”, it’s good to see that Harbour is back with a strong role in a budding franchise. It helps that he has a great on-screen rapport with Madewke, who conveys the unbridled joy of a young adult finally getting a chance to spread his wings, while also attempting to not self-destruct over the burden of this big “risk”. At one point Jann is ready to start “folding clothes”, but Madewke shows us that his spirit has not been broken despite crushing setbacks. Plus he’s got great chemistry with the actor playing Jann’s actual pop, the intimidating Hounsou brings the proper gravitas to Steve who adjusts his attitude and begins to make steps toward an understanding of his son’s passions. The only misstep in the cast may be in the badly underwritten role of Moore. He’s meant to be a lovable huckster, a mesh of Harold Hill and Jerry Maguire, but the talented Bloom is regulated to flashing a frozen grin as he leaps about during manic “sales pitches”. He’s better and deserves better. Also of note is the sneering villain of the piece, Josha Stradowski as the unrepentant, arrogant Nicholas Capa. He’s the sour counterpart to the sweet, but still “spicy”, Halliwell-Horner as the nurturing matriarch.

This sports underdog tale (kind of a high-octane megabit ROCKY) may seem an odd choice for director Neil Blomkamp, perhaps best known for his sci-fi satires DISTRICT 9 and CHAPPIE, but he keeps the pace flowing smoothly while giving us a great teacher in Harbour’s Salter. And he really makes auto racing accessible to FI “newbies” with the use of freeze-framing and graphic “arrows” that let us know just how Jann is faring. Plus there are some interesting uses of computer graphics that “build” the car around Jann during big dramatic sequences that illustrate the complex mechanics at work. And there’s the adrenaline rush in the pit area as they try to get Jann back on the track. Of course, we also get the view from the steering wheel as Jann inches ahead of his rivals (it’s not just accelerating and turning left as you can get “boxed in” and “bumped”). We’re taking to several exotic locales as the “circuit” ramps up. What almost scuttles the story is the “tacked on” romantic subplot for Jann which feels unneeded (much like the romance in THE CAINE MUTINY). Still, it’s a compelling real-life fantasy dream, recalling the video game recruitment 1980s classic THE LAST STARFIGHTER (now Robert Preston. even as a lizard-alien, might have made Danny Moore “work”), and those speed-lovin’ “gear-heads” will want to “pop the clutch” in their multiplex theatre chairs to the thrills and heart of GRAN TURISMO. And there’s the checkered flag…


2.5 Out of 4

GRAN TURISMO is now playing in theatres everywhere

UNCHARTED (2022)- Review

Victor “Sully” Sullivan (Mark Wahlberg) and Nathan Drake (Tom Holland) look to make their move in Columbia Pictures’ UNCHARTED. photo by: Clay Enos

So getting those winter blues, stuck inside for days due to the weather (and lingering travel restrictions) making you a bit stir crazy? The perfect “cure” might be a virtual “vacay”, namely a globe-spanning adventure starring two actors representing the “next-gen” of action heroes. Hey, one of them is still dominating the box office (and probably playing in the auditorium next door or down the hall). But this is no mere travelogue “romp”. It’s an adaptation (and a hoped-for new franchise). Another comic book, maybe a novel, or perhaps a classic TV show? Get with it Gramps’, this is a computer game that hopes to make as big a splash as Sonic did two years ago. Rather than a CGI speedy critter, here’s the tale of a team who’ll face any danger in their quest for gold and glory hidden in territories still UNCHARTED.

Much like another beloved action franchise, this movie’s opening sequence has the intrepid Nate Drake (Tom Holland) in seemingly unescapable peril until…a flashback. We then meet him as a teen when he and his older brother Sam try to raid a museum in the dead of night. Try is the operative word as the two are hauled back to the orphanage. Before Sami s sent off to “juvie’ he promises Nate that he’ll keep in touch, then disappears into the night. A dozen or so years later adult Nate is mixing cocktails and tossing off historical explorer nuggets as he relieves spoiled “trust funders” of their trinkets and cash. But somebody’s on to his “game”: worldly “collector” Victor “Sully” Sullivan (Mark Wallberg). He approaches Nate and tries to recruit him into his plot to grab to golden jeweled crosses that would unlock the lost treasure of Magellan. Nate’s not onboard till Sully reveals that he worked with Sam. Actually, they just need the cross that’s part of a big “high-end” auction nearby (Sully insists he’s got the other one). The duo sneaks into the swanky event and are immediately spotted by the slinky Braddock (Tati Gabrielle), Sully’s rival and a ruthless retriever for multi-billionaire Santiago (Antonio Banderas) who believes the treasure is part of his family legacy. After the auction ends in chaos Sully and Nate are on the run, first to meet up with a shady operative in Barcelona, Chloe (Sophia Ali), leading to an all-out showdown on a Pacific island. Can the lowly trio get to the loot before Santiago and Braddock’s army scoops it up?

Aside from its gaming roots, this film’s biggest ‘draw” may be Holland, fresh off of last year’s biggest box office hit (now the third biggest domestic B.O. of all time). Here he brings the same infectious energy and boyish charm as Peter P., but offset with a devious, rascally grin as he breezes off with “ill-gotten booty”. That’s tempered with his sense of loss and longing to reunite with his mentor, older sibling. Part of that role is taken up by Wahlberg whose Sully oozes with layback cool mixed with lots of snark, as he tries to suppress a grin as Nate reminds him of his early blunders. Both actors can pull off the dapper and the dirty inherent in their roles. Always looking suave is Banderas who now seems to be the “go-to” guy for the sinister international mastermind (much as he did last year in THE HITMAN’S WIFE’S BODYGUARD). Well, at least he’s not stroking a cat as he reveals his nefarious schemes. One of those listening in would be Gabrielle who makes Braddock both sinister and sexy, an exotic dangerous beauty who will “kiss you deadly” without a moment’s hesitation. On the flip side, there’s Ali as Chloe who has tart chemistry with Nate, though she can’t quite be fully trusted since her past with Sully has made her much wiser…and wiley.

The action sequences are strung together with a manic pace by director Ruben Fleischer, who has jettisoned the subversive satire of his ZOMBIELAND films for gravity-defying (and physics-ignoring) set pieces to keep kids glued to their seats. Unfortunately, these CGI-enhanced stunt exercises are exhausting and eventually monotonous as the film tries to “top” itself and forgo more character development to keep moving to the next exotic locale. Plus the three (!) screenwriters should know better than to namedrop Indiana Jones and Jack Sparrow which reminds the audience of much-better adventure extravaganzas. Holland’s tossed around here as much as the wallcrawler, but he, like most of the characters, may just be made of pixels as they bounce back quicker than the Looney Tunes troupe. At least Indy had some “mileage” as Nate doffs his shirt baring a chest free of scrapes and bruises. And like most thrillers, they don’t know how to wrap things up as they sprinkle in mid-credits “bonus’ scenes to tempt us with future sequels (oh they surely hope). Aside from the future software exploits, this will probably end the big screen capers of Nate and Sully. It’s a shame since Holland and Wahlberg have an easy-going rapport. They’re deserving of a better outing than this “kiddie-spin” (aside from the patricide and some throat-slitting) on the modern swashbucklers that’s more uninspired than UNCHARTED.

2 out of 4

UNCHARTED opens in theatres everywhere

Andres Muschietti To Direct SHADOW OF THE COLOSSUS Film

scus-97472-game-ss-3

Sony Pictures Entertainment today announced that Andres Muschietti has signed on to direct the highly-anticipated adaptation of best-selling PlayStation software title, “Shadow of the Colossus.” Seth Lochhead to write the screenplay (under Muschietti’s supervision). Barbara Muschietti will come on board the project to produce alongside Kevin Misher, who produces through his Misher Films banner.

The Muschiettis’ most recent film was the breakout 2013 horror-fantasy MAMA, which the Argentine director helmed and Barbara Muschietti produced, based on their 2008 short.

As they join Misher and Lochhead on the project, the filmmaking team will again depict the supernatural in Shadow, set in an epic-scale world filled with mythic giants and disembodied spirits. A fan of the game, Muschietti has a strong vision for the film and its characters, and seeks to translate the immersive game experience into a film that stays true to the human story of a young man attempting to save his lost love by accomplishing a seemingly impossible task … the destruction of the colossi who roam the forbidden land.

Shadow of the Colossus, published by Sony Computer Entertainment Worldwide Studio for PlayStation 2, was directed and designed by revered Japanese video game developer Fumito Ueda. His unique minimalist design and artistic sensibilities have led his games, including Shadow’s predecessor, Ico, to achieve cult status worldwide. Shadow of the Colossus was named Best Game at the 6th Annual Game Developer’s Choice Awards and earned IGN awards for Best Adventure Game and Best Artistic Design. To date, the game has sold over 2.7 million copies worldwide.

“We knew we had our director once we heard Andy’s take on the material – it was genius,” said Michael De Luca, President of Production. “The themes, characters and supernatural elements of the story have incredible international appeal with fans of the game in the millions.”

Michael De Luca and Andrea Giannetti will oversee the project for the studio.

VIDEO GAMES: THE MOVIE – The Review

VGTM_Still4

It’s another one of those full disclosure moments for me as a reviewer. I am not a hardcore gamer. Do I enjoy video games? In general, yes. Do I get excited when new games get released? No, not really. Do I play video games more than 1-2 hours a week? Not even close. I spend too much time watching movies to be a true gamer. However, I do still have an appreciation for the pixelated pastime.

Being a child of the 80s, I grew up giving my NES and SNES a hardy workout. That’s Nintendo Entertainment System and Super NES, for those who have been hiding under a rock for the last 30 years. I never owned an Atari, although I did secretly cherish my Commodore, the Radio Shack Atari knock-off system. Hey, I too could play Pitfall, amongst other classics, with that system!

While most of my minimal game time is spent nostalgically tapping the old NES controller buttons on my vintage games like Castlevania, I’m dually aware of the unmistakable parallel between cinema and digital gaming. Granted, its a stretch to make that connection with the old Atari games, but even then we had crossover examples like the infamous E.T. Atari game whose blockbuster failure is epic in itself.

The beauty of a film like VIDEO GAMES: THE MOVIE [from here out referred to as VGTM] is that it brings the people who know what the hell they’re taking about together to provide a comprehensive history of the digital gaming culture and tells the relatively young yet richly textured tale of the hobby’s meteoric rise in a way that is fun and interesting and doesn’t suck.

Written and directed by Jeremy Snead and co-produced by actor/filmmaker Zach Braff, VGTM has an energy and contemporary approach that is befitting of the subject matter. Where other documentaries on this general topic have focused on a specific niche of the trade, VGTM strives to tell the whole story as it currently stands, concisely but without dragging it out too long and becoming a failed Ken Burns-scale trainwreck. [No offense to Ken Burns, but no one can make a compelling documentary of great length like he does, so why even try?]

Snead begins the film by getting our techno adrenaline flowing, encouraging us to get excited about reliving our early days of geekdom planted in front of a TV screen punching buttons for hours as little blocky characters run and jump at our command. Only after he has us hooked, does he delve into the fascinating history of game development and ultimately the endless and ongoing evolution of gaming. Surprisingly, the 100-minute running time is successful at covering the entirety of the overall story without dwelling on any one area too long. Granted, there is much detail left on the virtual cutting room floor, but VGTM is not trying to be the Encyclopedia Britannica of video game documentaries.

VGTM has two target audiences in mind, so far as I can surmise. First, we have the hardcore gamers who inherently will appreciate the novelty of this film, much of which will likely not be anything they do not already store within they’re bags of plenty. My apologies, but that reference may or may not be properly placed, but I am a geek that spans multiple genres. Anyway, the second target audience would be those not yet familiar, or not yet educated, as to the history and making of the very entertainment they spend so much time taking for granted these days.

Allow me to illustrate. When I first acquired my retro console that plays both NES and SNES games, my two boys had no clue what they were watching me wire into my TV. At the innocent young ages of 9 and 6, they watched in wonder and then were mesmerized to discover the joy found in playing things such as Super Mario Bros and Excite Bike, to name just a couple. Instantly, I created two new retro enthusiasts, but they never actually lived the history. So, VGTM is a technological testament, a recorded history for future generations.

What power lies in this realization, that young people already accustomed to the advanced graphics and high-speed game play of systems like Sony’s Playstation and Xbox can still find amazement and wonder in playing the original Nintendo games? VGTM latches onto this sense of wonder, spanning genres across the globe, from the days of hanging out in arcades to hosting LAN parties with friends to stadium-filling gaming events on the scale of an NFL Superbowl. Do you remember THE WIZARD, starring Fred Savage? That kinda sh*t actually happened in real life! If you remember this, be careful. You’re showing your age.

Snead intertwines insightful and poignant interviews from industry juggernauts, early groundbreaking developers and current icons and celebrities who hold the video game in great regards in their own lives outside of their own stardom. VGTM includes interviews with the likes of Zach Braff, Wil Wheaton and Donald Faison, to name a few, and is narrated by Sean Astin. Many viewers may not recognize the early developers who appear in the film, but do not discount these moments as they reveal monumental pieces of the larger picture that need not be forgotten.

VIDEO GAMES: THE MOVIE is but a slice of the overwhelming pie, but this mere dip of our finger into the filling is packed with fun and flavor. From Pong to Pac Man, from Zelda to Call of Duty, there is an entire world outside our own that lives just within that glass box, but rarely have we seen beneath the surface into its heart. This film is the key to a greater appreciation of the art, craft and culture of digital gaming.

VIDEO GAMES: THE MOVIE is available Video On Demand on July 15th, 2014 and hits theaters on July 18th, 2014

Overall Rating: 3.5 out of 5 Stars

VideoGames-Poster-XL