Video Game Review: God of War

There have always been  fantasy-themed fighting games - Golden Axe, Gauntlet, Prince of Persia - but before and after the release of God of War, few games have matched the simple eloquence of the gameplay, the depth of mythology, the raw brutality of the combat, or the immersive storytelling of this classic game.

Playing God of War is the closest you can get to stepping into the shoes of a classic Greek hero, to wield the fantastic powers of ancient myth and challenge the gods of Olympus.  Instead of a hero like Perseus, however, you play through the tragic epic of Kratos:  a hulking beast of a man with blades chained to his wrists.  With the mere press of a few buttons, you can send Kratos on a mad rampage, sending his blades through men and monsters, with a varied mix of light, heavy, or grapple attacks.  As you go along, you come to wield the power of Medusa, to turn your enemies to stone.  You eventually acquire the trident of Poseidon, to swim underwater indefinitely.  You get to fire bolts of Zeus' lightning, and blast a ring of electricity with the Rage of the Gods power.  All of these abilities empower you to fight against soldiers, skeletons, sirens, sea monsters, harpies, minotaurs, and ultimately the gods themselves.  The game moves fast and smoothly; there are a few times where the levels are timed in such a way where your progress can be stalled, and balancing on ledges and beams can be frustrating, but most of the game flies by pretty evenly.  The controls are simple, but allow you to fight and move sublimely, and even to this day it holds up perfectly.

Despite the speed of the story, it is an epic-scale adventure the likes of which mirrors the Clash of the Titans movies.  The game's settings, creatures, and depiction of the gods and titans are highly imaginative, and make for a really fantastic experience.  At the core, however, is the character Kratos.  He's not a particularly likable character, for he is a spiteful, scowling, nihilistic brute with no regard for anybody other than himself.  As the game goes on, however, his backstory is slowly unveiled, and it is a compelling tale of betrayal that will go on to define the character and his motivation.  It embodies a lot of the same elements of a classic Greek tragedy, including the manipulation of the gods, and it makes Kratos one of the most well-defined antiheroes of modern pop culture.

The game is well-designed.  The levels are laid out in a somewhat circular pattern, so you often return to old areas after exploring new ones.  I've been personally fond of the Temple of Pandora levels, which presents a layered onslaught of puzzles, mazes, and arenas.  The game looks a little rough around the edges, given its age, but even the HD remaster for the PS3 looks really smooth and clean, leaving only the cut scenes to suffer (which are smoothly-rendered, despite their low resolution).  Game controls are very sublime; they work great and are easy to master.  Designs for the settings, characters, props, and costumes are great.  Sound and voices are great.  Music is fantastic as well.

Despite its extreme violence, God of War is a highly addictive game with a compelling story on a larger-than-life scale.  It is one of the most definitive fighting games of all time, and it is an essential title for any gamer.

5/5 (Entertainment:  Perfect | Story:  Perfect | Game:  Perfect)

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Film Review: Edge of Tomorrow

What if, in an almost video-game-like fashion, a soldier could respawn after death over and over again and relive the same day? Surely, he would learn and alter the events over and over, and continuously hone his skills until victory is achieved.  Based on the Japanese novel All You Need is Kill, this film brings this unique premise to life on the big screen.

The film wastes little time in the set-up, before the big battles commence that pit armored men against crazy tentacled aliens.  It is a pretty hectic and hard-hitting struggle as is.  You'd think these scenes would get repetitive if the main character keeps having to relive this, but the film keeps the backtracking short, so that it always explores new directions in the narrative.  As a result, the action remains frequent, but is always varied.  All the different tangents lead to a suspenseful and satisfying finale.

Given the film's premise, it is an inherently interesting idea.  It probably could have come off as generic, cliched, or repetitive in lesser hands.  Fortunately, the story is well-built and well-told in this film, not only because it keeps things brisk and varied, but also because it has endearing characters and a strong attention to detail.  There are a few instances where I questioned the plausibility of certain things, but it doesn't stop the plot from holding up.

The film features good and straightforward photography.  Editing is pretty good, especially in the way it can string together multiple recurrences of a scene (to show progress, or sometimes for humor when the character dies a stupid death).  Acting is not bad; Tom Cruise isn't always endearing to watch, but he does have moments that help us sympathize with his situation.  Emily Blunt delivers a solid performance.  Everybody else is alright.  Writing is not bad.  This production has pretty good and gritty-looking sets, props, costumes, and special effects.  Locales are surprisingly interesting.  Music is alright (the end credits song seems out of place though).

This is kinda like what you get if you cross The Source Code with the Resistance:  Fall of Man video game.  It's a pretty solid piece of military sci-fi that's certainly better than average, offering its fair share of intriguing storytelling and rip-roaring action.

Recommended!

4/5 (Entertainment:  Good | Story:  Good | Film:  Good)

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Film Review: X-Men: Days of Future Past

It's been fourteen years since the X-Men first hit the big screen, setting the trend for a whole monsoon of comic-book movies. Counting the two stand-alone Wolverine movies, Days of Future Past is the seventh in the series. The X-Men have had so many ups and downs over the years that it's easily become the most convoluted franchise since the original Planet of the Apes.  This film fulfills the same role as Escape from Planet of the Apes, redirecting the story arcs to rectify past mistakes and set the path for a bold, promising future.

Days of Future Past takes after First Class primarily, but there are vague connections to the other movies. Unlike the previous films, this one doesn't have the same light-spirited kick-butt feel. If anything, it starts off looking like The Terminator, swapping out T-800s for Sentinels, with Wolverine standing in for the T-101, Mystique fulfilling the role of Sarah Connor, and Trask standing in for Miles Dyson and Cyberdyne.  However, it never comes off as a rip-off; it's still X-Men to the core. The bleak future we see in the film's opening has always been in the cards, representing the apex of the ongoing conflict between men and mutants; the set-up is laid out very quickly, before launching a double-barreled narrative in both the past and the future with substantial stakes and suspense.

In lesser hands, this could have become a hokey affair (and chances are that the most critical of viewers could nitpick plot inconsistencies, especially when time travel is involved). However, this is easily the most mature film of the series, thanks not only to the complex plot dynamics that unfold with this unique premise, but also because of the characters. Their motivations and relationships are as strong as ever, and drives the story into different directions. Charles Xavier in particular emerges as the heart and soul of the whole film, driving numerous conflicts among other characters and within himself that underscores key themes concerning progress, destiny, and overcoming adversity of any kind. A lot of the lesser characters get sidelined, but Wolverine, Mystique, Magneto, and Beast get plenty of screen time.

Fortunately, as the plot unfolds, it does pull out a satisfying amount of action and spectacle. It's never overblown or overwhelming, and it's not just a bunch of things blowing up just because; it's nicely-balanced action that builds logically from the story. Scenes in the future show some pretty harrowing super-powered fights, while the rest of the film dishes out a lot of cool fights (including one crazy scene entirely in slow-motion, thanks to one super-fast mutant). It all builds up to a double-whammy climax, which not only ramps up the carnage, but also draws out the suspense.

This film features pretty good photography. Editing is fine, although it seemed like there were a lot of scenes in the beginning where a character starts to talk, but then the camera cuts away, and it came off as a little weird, as if the movie didn't want to show you who was talking. Acting is great across the board; James McAvoy and Patrick Stewart both excel as Charles Xavier, while Michael Fassbender continues to dominate as the younger Magneto (unfortunately, I felt Ian McKellen wasn't given enough to do here). It was also great to watch Jennifer Lawrence, Hugh Jackman, and Peter Dinklage. Writing is good, especially in the way it addresses the continuity of the series and bridges the gaps it needs to, while keeping things fresh and crafting a quality story with quality dialogue. This production has good-looking sets, props, costumes, and special effects. Music is alright (you can expect to hear a little bit of a reprise of the theme from the first two movies).

Days of Future Past is a movie about saving the future, not only in the movie, but also for the franchise as a whole. Despite certain contrivances, it is a highly nuanced story that rectifies some of the low points of the series. It genuinely kept me interested to see where it was all going. Even after the movie, it kept me interested, leaving just enough questions wide open to leave me wanting more. Best of all, the film accomplishes all this using plot and character more than special effects. So long as you've freshened up on the events of First Class, this film is highly recommended.

4.5/5 (Entertainment: Very Good | Story: Very Good | Film: Very Good)

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Film Review: The Wolverine (Revisited)

Wolverine has been through so much. In spite of that, he remains one of the biggest superheroes of comic-book legend, and thanks to Hugh Jackman's performance in four previous X-Men movies, he became one of the biggest cinematic icons of modern times. Even though the character received his stand-alone film in 2009, filmmakers wanted to go farther and deeper with the character. Taking after Chris Claremont's and Frank Miller's comic, The Wolverine would test the character's limits in Japan.

This film is nowhere near as overblown as other X-Men films: the action is confined to just a few fights. Some of the highlights include a fight on top of a high-speed bullet-train, confrontations with a small army of ninjas, and a final showdown with a giant armored samurai suit. These are fairly cool fights that show off quality choreography and a few cool weapons, but there's very little wow factor. The film does satisfy in the same way thrillers like The Man From Nowhere or Crying Freeman do, but it feels far less like a superhero movie, or even an X-Men movie. Those searching for big, explosive action might be let down, but there is still merit in this moody, slow-burning drama.

The Wolverine takes its time to breathe, giving a steady focus on the title character. It is a much-needed character study; as a sequel to X-Men: The Last Stand, Wolverine is a broken man, tormented by guilt and deprived of purpose. As he travels to Japan and becomes caught up in a major conspiracy, he is revealed to be a figurative ronin: a master-less samurai struggling to regain his honor, perhaps even through death. Due to these issues, and with the threat of taking away his healing powers, this is Wolverine at his most vulnerable, and it makes for a very intense struggle. The conflict runs good and hard throughout the story, and the plot is well-structured. The story has a dense layer of conspiracy that's not exactly easy to comprehend, especially with so many side characters, but other parts are predictable. At the film's core, however, strong parallels are drawn between Wolverine and the Bushido code, and it makes for a rather compelling show.

This film uses pretty straightforward photography and editing, and it's refreshing that way. Acting is good: Hugh Jackman is still perfect as Wolverine, and the rest of the cast is decent and feels authentic. Writing is good. This production uses good-looking sets, props, and costumes. Locales in particular look authentic, and it helps, since the setting plays a major role in this story. Music is not bad either.

The Wolverine is the film the character deserves, with emphasis on "THE" to indicate that this is not just another plain ol' superhero flick, but an exploration on the character and his quest for absolution. Viewers might find this dull, but it exceeded my expectations in spite of the dramatic aspects. In the end, I enjoyed watching the character, both for the action and for the melodrama. It is a worthwhile experience overall.

This film has an extended cut available on specific home video editions. It is an evenly-paced cut that boasts some longer dialogue and longer action scenes (primarily with the ninja fight toward the end), including a little more R-rated cursing and a bit more bloodshed. For mature audiences, it's not a bad cut of the movie.

4/5 (Entertainment: Pretty Good | Story: Good | Film: Good)

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Film Review: X-Men: First Class

You may know who they are, and after watching the three main X-Men films, you may have a good idea of what their histories are. But for the full tale of how Charles Xavier and Erik Lensherr became Professor X and Magneto respectively, look no further than First Class, the true prequel to the film trilogy.

Even though character drama tends to take the front stage, this film still has a phenomenal share of action and spectacle. Most of these scenes are short and tight, but every character gets a chance to shine and show off their powers. The fights are frequent and fun, but with the Cuban Missile Crisis as the centerpiece, the stakes are ramped up really well, before reaching an inspiring climax.

However, much like the first couple of X-Men films, the action never really drowns out the story or characters. In First Class, the focus remains firmly on showing how the original mutants came together, sowing the seeds for the conflicts that would come in the future. Some characters have more development than others, but each one do have scenes worth showing, and enough attention is given to the main ones to make them stand out. The film covers a lot of ground, but it does so swiftly and attentively, so the storytelling becomes endearing and faithful.

This film is crafted with decent photography. A lot of shots are wide-angle, but the film is composed well. Editing can be a bit choppy in some parts, but is otherwise solid (the scene with the coin at the end is specially inspiring in the way it's cut). Some scenes have overlays and transitions that gives the film a more uniquely dynamic style. Acting is phenomenal; James McAvoy and Michael Fassbender are the most perfect choices for their characters since the days of Patrick Stewart and Ian McKellen, and the rest of the cast pulls their weight well. Writing is okay. This production uses good-looking sets, props, and costumes. Special effects vary from being okay to being rather poor, but they are very well-conceived. Henry Jackman's score is excellent, and is especially wicked when Magneto is on screen.

Forget X-Men Origins: Wolverine. First Class is the most endearing and satisfying prequel to the series. It is densely-packed with action and storytelling, and in spite of that, it stands as one of the best in the franchise.

4/5 (Entertainment: Very Good | Story: Good | Film: Good)

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Film Review: X-Men: The Last Stand

After two satisfying X-Men films, it only seemed logical at the time that a third film should round off the series and provide a big-scale conclusion to the fight between mankind and mutant-kind.

If nothing else, The Last Stand has plenty of action to satisfy; the fights occur pretty frequently, and seem much more hard-hitting than before. It has always been great to watch Magneto take out an armored convoy with impunity, before gathering his army and taking over Alcatraz. The final battle is a fun free-for-all with so many mutant powers being thrown around that it's crazy. A bunch of new mutants - Beast, The Juggernaut, the Phoenix - are welcome additions to the lore of the film series.

Unfortunately, the film has not sat well with many viewers. Part of the issue is that the film doesn't take itself as seriously as its predecessors, and there are moments throughout where it tries to be funny but mostly isn't. What really ticks viewers off will be the storytelling decisions; many of the characters go into undesirable directions (including death). One's enjoyment of the film may also hinge on how seriously you can accept that mutation can be cured so easily. There are probably some plot holes to be found as well.

A lot of these issues have never bothered me personally (save for what happens to certain characters). For casual popcorn entertainment, the film is enjoyable in a laid-back manner. Its story flows well enough, and provides at least some closure to the series (at least at the time it was made).

The film looks nice and slick, with quality photography and editing. Actors continue to do their job admirably, with Hugh Jackman, Patrick Stewart, Ian McKellen, Anna Paquin, Famke Janssen, and everybody else pulling their weight well. Even Halle Berry seems to step up her performance a little. Writing is okay. This production boasts good-looking sets, props, and costumes. Special effects are often good, but some are weak. Music is alright.

X-Men: The Last Stand is an enjoyable onslaught of mutant brawling, but many viewers won't like what they've done to the characters and plot. It is a thrilling enough climax to the original three movies, but it's not quite as powerful of a catharsis as it thinks it is. It is often considered one of the worst comic-book movies ever, alongside with Spiderman 3. I personally don't think it's that bad, but it certainly has its share of weaknesses, and isn't quite as sublime as the first two movies.

Recommended only as a rental.

3.5/5 (Entertainment: Good | Story: Marginal | Film: Pretty Good)

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Film Review: X2: X-Men United

The first X-Men film presented a grand cast of iconic heroes in a troubled world; their heroics would only become grander and more complex in the continuing conflict. Bryan Singer's second X-Men film carries over everything that made the first film great, and still manages to cram in a whole lot more.

The action in X2 is phenomenal. The film starts off with one of the most elegantly-staged fight scenes on film. Shortly thereafter, the film rolls ahead with a constant series of fights and flights; among the most inspiring of scenes, Storm takes out a pair of jets with tornadoes, and Pyro goes berserk against a police squad. The entire last half of the film takes everybody to Alkali Lake, for a massive cascade of impressive action, including a great fight between Wolverine and Lady Deathstrike, Magneto wreaking havoc with the military, and Cyclops blowing things up. The whole time, all life on Earth remains at stake. It all reaches its apex with an awesome dam burst sequence, the likes of which could put the scenes in Superman: The Movie to shame.

Despite having so much, the film never feels overblown or convoluted; it all flows very sublimely, and gives just enough room for the story to unfold and breathe a little. Characters shine a little better than before, and more attention is given to the lesser players. Some of the strongest moments include revelations concerning Wolverine's character. The film also digs up enough background on the villain, Colonel Stryker, and his situation to give the evil plot more relevance and depth. It all ties into the grander scheme of showing a world struggling against mutant prejudice, and thanks to the characters and their interactions, it remains a compelling struggle.

This film is made with fantastic photography and editing. Acting is great from the whole cast: Hugh Jackman continues to excel as Wolverine, while Patrick Stewart, Ian McKellen, Anna Paquin, Famke Janssen, Brian Cox, and everybody else remains solid. Writing is not bad. This production uses great-looking sets, props, and costumes. Special effects are generally good, but are aging a little. John Ottman's music score is great.

X2 is a perfectly-balanced sequel with fantastic action scenes, but still gives a good amount of attention to the story and characters. In spite of this, it is a massive step up from the first film, and remains one of the best sequels since T2.

Recommended!

4.5/5 (Entertainment: Perfect | Story: Good | Film: Very Good)

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