Silent September IV Quick Picks and Pans

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He Who Gets Slapped (1924) The second American film from Swedish director Victor Sjöström (The Phantom Carriage) is a grim tale of betrayal and revenge, starring Lon Chaney. Chaney is Paul Beaumont, a brilliant scientist poised to bring the results of his research to a board of his peers. On the eve of his triumph, his papers are stolen by his wealthy benefactor, Baron Regnard (Marc McDermott), who also runs off with his wife. Regnard takes the credit for Beaumont’s research, and in a final act of humiliation, he slaps Beaumont in front of an audience of his fellow scientists. Years later, the disgraced researcher has made a new name for himself in an unlikely venue, as the clown “He.” He creates a comedy act, re-experiencing the trauma of getting slapped before a jury of jeering clowns. He attempts to prevent history from repeating itself when the Baron sets his sights on Consuelo, a young performer (Norma Shearer). Chaney’s heartrending performance is as memorable as it’s painful to watch.

Rating: ****. Available on DVD

 The Thief of Bagdad (1924) Swashbuckler extraordinaire Douglas Fairbanks stars in the titular role, as a thief with aspirations of being a prince. If it all looks a little familiar, it springs from the same well that Disney dipped into, many decades later, for Aladdin. The thief disguises himself as a prince to woo the princess (Julanne Johnston). After his ruse is discovered, he leaves in shame, but aims to redeem himself with a quest to find the greatest treasure. Aside from Fairbanks’ formidable charm and exciting antics, one of the highlights is the spectacular production design by William Cameron Menzies, who co-directed the terrific 1940 version (still my favorite version of the story). The film also features fine performances by Anna Mae Wong as a duplicitous Mongol slave, Snitz Edwards as the thief’s loyal companion, and Sôjin Kamiyama as the Mongol Prince. It may be sacrilege to say the film goes on a bit too long but there’s much to love about this excellent adaptation of Arabian Nights. The film hosts a collection of visual wonders, and Fairbanks is as dashing as ever, so who’s complaining?

Rating: ****. Available on Blu-ray, DVD and Amazon Video

L’ Inferno (aka: Dante’s Inferno) (1911) The Virgil (Arturo Pirovano) guides fellow poet Dante Alighieri (Salvatore Papa) on a tour of Hell, and that’s about it. While this groundbreaking Italian fantasy-horror is short on plot, it’s a treat for the eyes. As the travelers descend through the various levels of hell, they witness the many torments, created specifically for each resident. Among the sights: men wallow in a lake of filth, some are buried upside-down, with their legs wiggling in the air, while others are transformed into trees. Charon and Cerberus are also there to greet the travelers. It’s a must for fans of early horror.

Rating: ***½. Available on DVD and YouTube

The Flying Ace (1926) The film’s title is somewhat misleading – anyone expecting dogfights and thrilling aerobatics will be disappointed (the flying scenes were filmed in a studio), with most of the action taking place on the ground. But there’s plenty to keep viewers entertained with writer/director Richard E. Norman’s film, with a love triangle and a mystery surrounding $25,000 in missing payroll funds. Laurence Criner stars as the main character, Captain Billy Stokes, a WW I flying ace, who’s returned from the war to resume his career as a detective. He’s joined by his one-legged companion, played by Steve Reynolds. They make such a great team, that I couldn’t help but wonder if other adventures with the two were planned or filmed (If not, they missed a golden opportunity.). The investigation takes a detour thanks to a love interest (Kathryn Boyd) and another aviator who might not be as honorable as he seems. Despite obvious budgetary limitations, The Flying Ace soars with humor and adventure. Note: this film is part of the five-disc Pioneers of African American Cinema collection. It’s not just for stuffy cinephiles and would-be historians, but a rich glimpse into our cinematic past, and a neglected part of film history.

Rating: ***½. Available on Blu-ray and DVD

The Monster (1925) With Lon Chaney starring, and a title like The Monster, you might expect a tense horror film, instead of a comedy/mystery in the vein of The Old Dark House. Although Chaney enjoys top billing as the deranged Dr. Ziska, he’s not really the film’s main character. Co-star Johnny Arthur gets more screen time as a would-be sleuth, attempting to find out about a string of disappearances. His investigation leads to a spooky old asylum, boasting hidden passageways and a basement laboratory, where Ziska is conducting weird human experiments. Meanwhile, the amateur detective tries to win the affections of a girl (Gertrude Olmstead) from the boss at his day job. The Monster doesn’t sustain the comedy throughout, with mystery prevailing in the second half, but it’s good for a few laughs and mild chills.

Rating: ***. Available on DVD

Three’s a Crowd (1927) Harry Langdon directed and starred in this comedy about a man who leads a lonely existence, yearning for a wife and child. One day, he rescues a pregnant woman from the cold, and experiences what it’s like to have a family, if only for a little bit. Langdon’s bittersweet (with an emphasis on the bitter) comedy has a few moments of levity, but there’s a stronger focus on drama. The final gag does little to defuse the downbeat climax. Despite the paucity of comic moments, there’s still much to like about Langdon’s film, and the evolution of his man-child character. Note: David Kalat’s commentary on the Kino DVD sheds some light on the controversy over this often-maligned film, as he picks apart the pro and con arguments, and it’s well worth a listen.

Rating: ***. Available on DVD

The Headless Horseman (1922) This lackluster, unimaginative adaptation of Washington Irving’s story “The Legend of Sleepy Hollow” misses the mark at practically every turn.  Will Rogers (yep, that Will Rogers) is miscast in the starring role as awkward schoolteacher Ichabod Crane. He competes for the affections of Katrina Van Tassel (Lois Meredith) with Brom Bones (Ben Hendricks Jr.), who will stop at nothing to sabotage Crane’s reputation in Sleepy Hollow. Director Edward D. Venturini and writer Carl Stearns Clancy turn an extraordinary story into something by the numbers and prosaic. (Spoiler Alert) Unlike Irving’s story, the disappointing ending unwisely eschews any ambiguity about the supernatural origins of the horseman. Perhaps this should have been called The Headless Hoax? 

Rating: **. Available on DVD and Amazon Video (Note: The version I watched, on Amazon Prime had no music score, just some very annoying white noise. If you feel inclined to see this, watch it with the sound off.)

Confessions Of A Sociopathic Social Climber (4 Stars)

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It's been so long since I've watched this film -- six years -- that I'd forgotten how good it is.

Jennifer Love Hewitt plays Katya Livingstone, a wannabe socialite and compulsive liar in San Francisco. She earns more than $100,000 a year in an advertising bureau, but she only got the job because she lied about her university degree. Don't they check things like that in America? Nevertheless, she's good at her job. Someone as shallow as her knows what appeals to other shallow people, so she's a valuable asset to her company. All her money is spent on her image to promote herself in the San Francisco party scene, whether it's clothes or jewellery, but even there she's willing to cheat. For instance, she buys expensive dresses for parties, then returns them afterwards, taking advantage of store 30 day return policies. Her best friend is a gay man, because in San Francisco it's considered chic to have a gay best friend. Supposedly gay men know best how a woman should look. Is there any truth in that?

The top socialite in the San Francisco scene is Dove Greenstein. Katya keeps close to her, feigning friendship  in order to belong to belong to the in crowd. This ploy breaks down when she's caught having sex with Dove's latest husband during the wedding reception. Even worse, she tells a local newspaper Dove's real age. A few months later there's a party as a fundraiser for Youth Aid, stylised as a Royal Ball, the biggest social event of the year. Everyone who is anyone in San Francisco will be there, but Dove Greenstein is responsible for the invitations, which she sends in the form of golden keys. Ouch! Katya devotes her whole life to getting an invitation, either stealing one or attaching herself to someone as a plus one.

Is there a moral to the story? Yes, a very shallow moral to match the life of a shallow party girl. Money can't buy you love. Or maybe it can, if you take advantage of the 30 day return policy. Katya will happily sink into the arms of any man willing to give her a golden key for the Royal Ball. Or is there more to love more than beautiful clothes and lavish parties? Katya has to find out the answer for herself.

AMRAPALI (1966)

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I'm not familiar enough with vintage "Bollywood" cinema to have any idea whether Lekh Tandon's historical epic is typical of its time or exceptional. Wikipedia reports that Amrapali "wasn't a commercial success" but later "started being seen as a classic." It's certainly a lavish film, reminiscent for an American viewer of Cecil B. DeMille's work, yet with a culturally distinct Buddhist spin at the end that makes me reluctant to describe the story as a tragedy. In many respects that's exactly what Amrapali is: a tale of star-crossed lovers who were contemporaries of Siddhartha Gautama. In those days, the republic of Vaishali is menaced by the kingdom of Magadha and its aggressive ruler, Ajaat Shatru (Sunil Dutt, left in the screencap below). His army is state-of-the-art for its time, including war elephants, but the first major battle with Vaishali proves inconclusive at best. In fact, the king goes missing, leading the Vaishali people to proclaim victory.

Ajaat Shatru has been wounded and has gotten himself lost in a delirium. He finds himself in the care of Amrapali (Vyjayanthimala), a patriotic Vashali woman who has mistaken him for a soldier of her own country. Losing his well-known beard helps him stay incognito in the heart of the enemy camp, but a network of his own spies recognizes him and allows him to maintain contact with home, all unbeknownst to Amrapali, who starts falling hard for the unknown soldier after he rescues her from a falling, burning effigy of himself during a victory celebration.

Amrapali is moving up in the world. She's appointed the state courtesan, which apparently amounts to the entertainer-in-chief of the republic, after winning a dance-off with a rival whose misperformance of a traditional dance she publicly criticizes. She gets a statue made of herself by a soldier-sculptor who's been crushing on her the whole picture, and when she commissions a statue of her new soldier boyfriend, the sculptor recognizes him as the evil emperor and sculpts him as such. Realizing now how she's been tricked, Amrapali slices the statue in half and repudiates Ajaat Shatru, but refuses to denounce him. That gets her in trouble when the Vaishali authorities announce that they've captured the enemy leader in their midst. It's actually a lookalike the Magadha spies have provided in case of an emergency, but poor Amrapali doesn't know that. As far as she knows, the man she loved is dead, and she's in prison for treason.

Ajaat Shatru had already tarried too long in Vaishali and didn't get to say goodbye to his beloved dying mother, so he's already in a funk when he learns of Amrapali's arrest. That drives him berserk, and at this point Amrapali diverges from the path a western counterpart would have taken. In short, the Magadha monarch brings a mighty host down on Vaishali and utterly destroys it, sparing Amrapali but slaughtering virtually everyone else. He doesn't really comprehend why his beloved isn't happy to be liberated, and at this point you might expect the story to go fully tragic, western style, with Amrapali killing the king and then maybe herself. Again, no. Instead, Amrapali ditches Ajaat Shatru and heads into the forest, where mass chanting indicates that the Buddha is preaching. He's filmed in something like the old Jesus style, visible only from a distance. The noise of the chanting allows Ajaat Shatru to track Amrapali down, but when he hears the typical Buddhist message -- desire leads to fear, which leads to suffering -- he breaks his sword in a gesture of apparent renunciation. And that's it. The resolution isn't the couple living happily ever after, because Buddhism doesn't believe in that the way we do, nor the couple killing each other, for what would that prove? The only hope for either person in the tragedy, as for everyone according to Buddhism, lies in renunciation. The ending is a hopeful note, presumably, for its native audience -- though Buddhism has always been a bigger thing further east than in its native country -- while for many a westerner, Amrapali simply skids to a halt.

While Sunil Dutt was a legendary star in his own right, Amrapali is pretty much a one-woman show -- or a two-woman show if you give credit where due to the Marni Nixon of India, Lata Mangeshkar, who does Vyjayanthimala's singing. Surprisingly, Amrapali is the only character who gets to sing in the picture, and the film actually makes a fairly subtle transition to musical mode. The first "number" of any sort is the big victory celebration, which features a lot of festive dancing until the effigy collapses. Later comes the big dance-off for the Courtesanship, highlighting the star's putative versatility as a dancer, which I as an outsider to traditional Indian dance am not qualified to judge. Finally we get Amrapali expressing her moods privately in songs that are not public performances, but rather just the sort of numbers we expect in Hollywood musicals. These intrusions may make the film more campy than it really is in some eyes, but their main effect is to make the title character, appropriately enough, the absolute center of the picture. She's far from the only attraction, however, Dutt does a good job portraying the wild swings of Ajaat Shatru's personality, and the film's production design is mostly more impressive than you might expect from a 1960s India film. The big exception to that is the work of the film's armorers. While the battles scenes have the numbers (and elephants) to impress, and the director and editor Pran Mehra do a fine job reducing the final battle to an impressionistic montage, the armor and weapons often look suspect, and Ajaat Shatru breaks his sword far too easily at the end. Overall, taking cultural differences into account, Amrapali is an entertaining example of what the world's largest film industry was capable of fifty years go.

The Evil Within 2 | New Trailer Released – The Wrathful, “Righteous” Priest

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The Evil Within 2 | New Trailer Released – The Wrathful, “Righteous” Priest

Shrouded in mystery, Father Theodore has remained an enigma…until now. Along with Stefano, Theodore is one of the human “monsters” who have made their way into the new STEM world in The Evil Within 2, and he’s finally ready to reveal his message to the masses – a message that promises a “righteous” fury and immolation to those who oppose him. Sebastian will need to survive the wrath of this master manipulator if he’s going to have any hope of finding Lily and escaping the nightmare of STEM.

 

Theodore has his own reasons for being in STEM that are separate from Mobius’ goals, which he sees as misguided. Though what he’s actually after only becomes apparent as Sebastian becomes more entangled in his world.

 

Like Stefano, Theodore isn’t alone in STEM, although unlike Stefano – who commands the gruesome and terrifying Guardian and Obscura – Theodore’s main helpers aren’t creatures he created. Referred to as Harbingers, they are normal people whose minds Theodore has bent to his will. These Harbingers wield flamethrowers and seem to exist solely to carry out Theodore’s fiery will, burning any who would stand in the way of his pursuits.

 

Any detail about his past pushes into HUGE SPOILER territory. In other words, you’ll have to play the game in order to unlock the secrets he hides. Check out Bethesda.net for even more details and insights from the team at Tango Gameworks.

 

As Sebastian Castellanos, you’ll have to dive into hell once more in the sequel to the hit 2014 survival horror game from the mind of Shinji Mikami. Take on twisted creatures in horrifying domains and face off against your own worst nightmares as you race to save your daughter. The Evil Within 2 will launch worldwide Friday the 13th, October 2017 on PlayStation 4, Xbox One, and PC. For more information about the game, visit http://ift.tt/1aiDLLf.

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Film Review: THE DEVIL IN WHITE (2014)

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THE DEVIL IN WHITE *** U.S.A. 2014 Dir: Michael Fredianelli 113 mins

In the near future a cult of revolutionaries plot to murder the president of a pharmaceutical company to stop the merge of two of the biggest drug distribution companies coming together. The drug in question is one known as 'Equalizer' or for short 'EQ', this powerful drug looks like cocaine but 'EQ' can heighten your senses. For instance if you have bad eye sight by taking the drug it will take some of your other bodies stronger senses and improve your senses that are demising.
Only thing is you should only take the drug in very small amounts otherwise it can lead to a very painful death. The leader of the cult is known as Archie and he brings into his fold Johanna a girl who can't stand her mother and is somewhat addicted to 'EQ'. Her mother soon realises her daughter isn't coming back and goes on a hunt to find her daughter, but on her search she will come face to face with the cult itself and discover their ultimate plans for the drug. Its nice to see a indie film that is trying something unique and is far removed from the zombie and slasher films the scene has come accustomed to. Comparisons to the 2011 film LIMITLESS starring Bradley Cooper can be seen but this is only a minor detail. Throughout you are questioning the motives of the protagonist Archie through this slow burn sci-fi and you begin to wonder who really is the bad guy. Well acted by all involved with a special mention to Jeremy Koerner who played Archie. At nearly two hours long the film at times can seem padded but by editing the movie down to a shorter running time it would leave viewers scratching their heads, so its best at its current running time. Watch THE DEVIL IN WHITE if you want to heighten your experiences with a indie film with a blockbuster idea.

Review by Peter 'Witchfinder' Hopkins

Red Dead Redemption 2 trailer is here

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Red Dead Redemption 2 trailer is here

Here it is the latest trailer for Red Dead Redemption 2!


Watch the all-new trailer for Red Dead Redemption 2, the story of outlaw Arthur Morgan and the Van der Linde gang as they rob, fight and steal their way across the vast and rugged heart of America in order to survive. Coming Spring 2018 to PlayStation 4 and Xbox One systems.

Tom Clancy's Ghost Recon Wildlands - PvP Mode 'Ghost War' Launches Oct 10

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Tom Clancy's Ghost Recon Wildlands - PvP Mode 'Ghost War' Launches Oct 10

ASSEMBLE YOUR SQUAD AS TOM CLANCY’S GHOST RECON^®WILDLANDS GHOST WAR PVP MODE LAUNCHES OCTOBER 10

The Tactical 4v4 Mode Will Be A Free Update for Tom Clancy’s Ghost Recon Wildlands Owners

SYDNEY, AUSTRALIA — September 29, 2017 — Ubisoft^® has announced that Ghost War, the new PvP mode update for Tom Clancy’s Ghost Recon^® Wildlands, will be available on October 10. Ghost War will be free for all players who own the base game and will receive regular content updates after launch.

In Ghost War, two groups of players will take part in a 4v4 team deathmatch experience that builds on the tactical squad play from the main game, where strategy is equally as important as skill. Teams will choose from a roster of varied classes across three categories including Assault, Marksman and Support, fulfilling specific roles on the battlefield as they navigate large-scale open maps and take down their enemies. Using one of the twelve distinct classes, each with their own varied characteristics, weapons, perks and customization options, players will engage with enemies across eight unique maps. Ghost War will also integrate new PvP mechanics, including suppressing fire and sound markers, to create a strategic and intense team-based multiplayer mode. For all the detailed information on Ghost War, please visit:http://ift.tt/2h4dWYf.

To view the trailer click the image below

The development team plans to bring regular post-launch updates to Ghost War in order to enrich the overall PvP experience. “We are excited to continue refining and expanding Ghost War after its launch” said Lucian Istrate, lead game designer on Ghost War at Ubisoft Bucharest. “Expect more classes, more maps, and even new modes to be added in the future!”

Developed by Ubisoft Paris,* Tom Clancy’s Ghost Recon Wildlands is a military shooter entirely playable in up to four-player co-op or single-player from beginning to end. Players have total freedom to accomplish their missions how they want and watch as the world reacts to their actions. Players can choose to move quietly in the night, go in hot at dawn or work together to execute a sync shot that takes out enemies in one fell swoop. Each choice has a consequence, and players must improvise or adapt their plans to ensure the completion and success of each mission.

For the latest about Tom Clancy’s Ghost Recon Wildlands and all Ubisoft games, please visitubiblog.com.

Ubisoft Announces Dan Romer As Composer For Far Cry® 5

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Ubisoft Announces Dan Romer As Composer For Far Cry® 5

UBISOFT^® ANNOUNCES DAN ROMER AS COMPOSER FOR FAR CRY^® 5

Sent on behalf of James Mahon

To download all assets please visit the press extranet: ubisoft-press.com

Sydney, AUSTRALIA — September 29, 2017 — Ubisoft^® has announced that Dan Romer, the award-winning film composer, songwriter and music producer, is composing the score for Far Cry^® 5 in addition to writing songs for the game. The Far Cry 5 soundtrack will be available closer to the game’s launch on February 27, 2018.

Known for his film score work on Beasts of the Southern Wild and Beasts of No Nation, and for producing the Grammy-winning single, “Say Something,” and worldwide hit, “Treat You Better,” Romer sought to create a soundtrack that transports players into fictional Hope County, Montana, where fanatical doomsday cult Project at Eden’s Gate has taken over. Utilizing many Americana instruments, including banjos, fiddles, dobros and more, Romer’s score will fluctuate as players explore the dynamic world and come head-to-head with cultists. Each of the regions will have specific character-centric music that ties into the motives of the Father and the Heralds.

Along with the musical composition, the Far Cry 5 score will also include original hymns written by Romer, produced by Bobby Chin and performed by the Bobby Chin Nashville Choir. The lyrics of these reflect the inspirations of the leadership and members of the cult while also hiding more sinister messages toward the Resistance. Each of these hymns will mix into the existing music that players experience as they explore the world or engage in combat.

Set in America, a first for the franchise, Far Cry 5 offers players total freedom to navigate a serene-looking yet deeply twisted world as the new junior deputy of fictional Hope County, Montana. Players will find that their arrival accelerates a years-long silent coup by a fanatical doomsday cult, the Project at Eden's Gate, igniting a violent takeover of the county. Under siege and cut off from the rest of the world, players will join forces with residents of Hope County and form the Resistance.

For more information about Far Cry 5, please visit farcry.com.

For the latest on Far Cry 5 and other Ubisoft games, please visit ubiblog.com.

Battle of the Sexes: Film Review

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Battle of the Sexes: Film Review

Cast: Emma Stone, Steve Carell, Andrea Riseborough, Elizabeth Shue, Sarah Silverman, Bill Pullman
Director: Jonathan Dayton, Valerie Faris

From the directors of Little Miss Sunshine and the writer of The Full Monty, Battle of the Sexes is the story behind the 1973 tennis match between tennis aces Billie Jean King and Bobby Riggs.

It's hard to imagine the Battle of the Sexes having a more pertinent release time than right now, with the war for equality raging stronger than ever, the message of acceptance and coming out, and with the war against sexist buffoons taking on those in power. In truth, that's possibly the best thing Battle of the Sexes has going for it, because, in truth, it's predominantly the kind of film you've seen before - well presented and acted, but slightly lacking a little depth of character.

Stone is Billie Jean, whose anger at the lack of pay equity when offered a part in a tournament that pays an eighth of what the men receive sees her launch a women's league of her own. Alienated from the boys' club and determined to build credibility for the women's lib front and the the sport, the apparently happily married Billie Jean is also struggling with an attraction to a chance meeting with Marilyn, a hairdresser played with subtlety and warmth by Andrea Riseborough.

At the same time, former Wimbledon ace and compulsive gambler and hustler Bobby Riggs (a wonderfully spot-on likeness from Steve Carell) is looking for his next challenge. Chasing a bet, and with his family life in ruins because of it, the self-styled male chauvinist pig challenges Billie Jean to a game to demonstrate once and for all that men are better than women.

With two storylines that flow and ebb before colliding, Battle of the Sexes manages to mix the hazy 70s cinematography and some firecracker performances from the likes of Silverman as King's agent into a crowd-pleasing affair that lobs and serves as well as those on the field.

But in truth, Carell's Riggs never feels like his sexist bluster is anything other than a push for PR on the pitch, and despite a good solid turn that mixes both comedy and warmth, consequently feels like he's the Austin Powers of the tennis world. (Though it is good to see him reunite with his Crazy, Stupid, Love counterpart again.)

While Stone's King is a bit more of a rounded character, with Stone personifying the internal struggle with non-showy chutzpah, Battle of the Sexes' strength and weakness lies in the fact that it chooses not to vilify any side of the debate. Both portrayals are flattering, neither are damning and the overall result is one of a fairly generic movie whose parts occasionally help it excel and achieve a timely poignancy in the global scale of events.

Decidedly light and breezy, yet never too lightweight not to resonate, Battle of the Sexes is a game of a film that serves, lobs, ducks and weaves like a true sportsperson. It's here to entertain and keep you focussed on the action (such as it is) and it does so with aplomb, thanks to its trio of leads.

IVALICE COMES TO FINAL FANTASY XIV: STORMBLOOD OCTOBER 10

Watch Movies TV -IVALICE COMES TO FINAL FANTASY XIV: STORMBLOOD OCTOBER 10

IVALICE COMES TO
FINAL FANTASY XIV: STORMBLOOD OCTOBER 10

Patch 4.1 Trailer Provides Action-Packed Preview of Dungeons, Raids, and More

Sydney, Australia - 30^th September, 2017 – Sweeping views of Rabanastre and powerful new foes await adventurers in the latest update for FINAL FANTASY® XIV: Stormblood™. Patch 4.1, entitled “The Legend Returns,” is the first major update toStormblood™ and continues the exhilarating main scenario questline following the liberation of Ala Mhigo.

Adventurers will also be able to challenge a fearsome new Shinryu trial—The Minstrel's Ballad: Shinryu's Domain—and tackle the even more demanding “Ultimate” battle series with the debut of The Unending Coil of Bahamut (Ultimate).

The Minstrel’s Ballad: Shinryu’s Domain

The Legend Returns will also mark the beginning of the highly anticipated “Return to Ivalice” alliance raid series, which will take players to the ruins of the city of Rabanastre. During the recent Letter from the Producer LIVE broadcast, Yoshida revealed the artwork and in-game model of the “Return to Ivalice” monster designed by special guest creator Keita Amemiya - the creator of the Garo television and film series, from which the Patch 3.5 PvP gear, weapons, and mount designs originated.

Return to Ivalice Monster - Designed by Keita Amemiya

The live stream also featured a first look at new in-game areas and additional details on content to be included in the first major update since the launch of Stormblood, the title’s second expansion.

• Adventurer Squadrons – Players can explore a number of dungeons with a party of three squadron members, issuing commands to their companions to help lead them to victory.
• New Housing Area “Shirogane” – Whether players are looking to purchase their first estate, or they are a current estate owner planning to utilize the new relocation feature, adventurers are eagerly looking forward to moving into this new Far Eastern themed housing area.
• New PvP Mode – Rival Wings – Two teams of 24 players will go head to head in this new PvP mode, in which they will attempt to assault and destroy the opposing team’s tower. Players will also be able to pilot goblin creations such as Oppressor and Cruise Chaser to engage the opposing team in fierce combat.
• Battle Adjustments – Yoshida touched on a sampling of changes and adjustments to job actions and spells.
• System Enhancements – Introduction of a cross-world Friends list and /tell communication, updates to HUD customization, job gauge displays, cross-world alliances and custom PvP matches, and Party Finder adjustments provide players with an even more personalized gameplay experience.
• “Perform” – Bards can now create their own songs through new hotbar actions that play musical notes.

For additional details on the content discussed during the latest stream, visit http://ift.tt/2fZgA1S.

The official trailer for Patch 4.1, The Legend Returns, is available here: https://youtu.be/x8dmQB2uMR4

Additionally, the return of the exciting collaboration between FINAL FANTASY XIV and Level-5’s Yo-kai Watch™ is underway. Through November 1, players will once again be able to collect Yo-kai themed weapons, minions, and mounts. Visit the Yo-kai watch event page on the Lodestone for more information: http://ift.tt/2gE8g71

All editions of FINAL FANTASY XIV Online, including the FINAL FANTASY XIV: Stormblood expansion, may be purchased through the Square Enix Online Store here: http://ift.tt/2wEjTRU

Kill Me Three Times

Watch Movies TV -***DISCLAIMER*** The following review is entirely my opinion. If you comment (which I encourage you to do) be respectful. If you don't agree with my opinion (or other commenters), that's fine. To each their own. These reviews are not meant to be statements of facts or endorsements, I am just sharing my opinions and my perspective when watching the film and is not meant to reflect how these films should be viewed. Finally, the reviews are given on a scale of 0-5. 0, of course, being unwatchable. 1, being terrible. 2, being not great. 3, being okay. 4, being great and 5, being epic! And if you enjoy these reviews feel free to share them and follow the blog or follow me on Twitter (@RevRonster) for links to my reviews and the occasional live-Tweet session of the movie Please, kill me no times.

Kill Me Three Times – 3 out of 5

My first exposure to Simon Pegg was in the first of the Three Flavours Cornetto trilogy; Shaun of the Dead.  Since then, I’ve really enjoyed the guy and have pretty much made it my business to watch anything he is in.  In 2014, Kill Me Three Times came out starring Pegg but, despite having him in it, I never went out of my way to check it out.  Finally, during this last weekend, I decided I would finally get around to watching it.  To be honest, I probably could have kept waiting.

Can we all agree that Simon Pegg is a treasure to the world?

In Australia, a contract killer by the name of Charlie Wolfe (Pegg) is hired by a wealthy businessman (Callan Mulvey) to investigate his wife Alice (Alice Braga) because he believes she’s cheating on him with a local man named Dylan (Luke Hemsworth).  What is supposed to be a simple job turns out way more complicated as he discovers that Alice accidentally got entangled in a scheme from a dentist (Sullivan Stapleton) and his wife (Teresa Palmer) as they are attempting to use her for insurance fraud by killing her and making the authorities think it’s the wife.  Things are even more complicated as a corrupt cop (Bryan Brown) stumbles on the dentist’s plan and wants in on the action in order to keep his mouth shut.  Now Wolfe is stuck in the middle of a gigantic mess that was originally supposed to be a simple investigation turned contract killing.

The wildlife in Australia is dangerous but it turns out the people want to kill you too.

Kill Me Three Times is a fun idea that has a lot of potential for dark comedy fun.  Hell, the film even presents itself with a nice slick presentation that doesn’t unfold its plot in a linear/A-to-B-to-C fashion but rather reveals itself in a way where the twists in the madness that Wolfe has unknowingly found himself drowning in is done so in a clever way.  However, the film stops short by a significant distance of being something memorable or as entertaining as it should be.  

Stopping short...sorta like stopping short of getting a car to sink when you are
trying to kill someone for insurance fraud purposes.  Yep, that was a stretch
but I wanted to justify this screencap.

The performances in KMTT are decent and there’s no denying that Pegg is enjoyable but the story just proved to be not that engaging.  I did state that the story is first opened in a non-linear fashion but once all the major character reveals are done and the plot starts to chug along, the film sorta hits a leisurely stride that isn’t conducive to engaging storytelling.  The film is far from boring but once you know which direction the story is going, it quickly just becomes a serviceable affair that is mildly entertaining and only made decent by the cast.

Luke Hemsworth is considered the least attractive Hemsworth...and that dude is
ruggedly handsome.  That family is just blessed with good genes.

I found Kill Me Three Times to be sorta fun and kinda entertaining but pretty much to a small degree in the moment that I was watching it.  Yes, the cast is decent and I thought Simon Pegg was fun as Charlie Wolfe.  Hell, there’s even some decent laughs in this dark comedy but the story just didn’t deliver anything that engaging or even memorable.  Finally, there are just not a lot of moments that stand out where any of the characters beyond Wolfe are that interesting.  This is just another one of those movies that had a decent, marketable idea but it just didn’t live up to it.

American Made [2017]

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MPAA (R)  CNS/USCCB (L)  RogerEbert.com (2 Stars)  AVClub ()  Fr. Dennis (2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Turan) review
RogerEbert.com (S. Abrams) review
AVClub () review


American Made [2017] (directed by Doub Liman, screenplay by Gary Spinelli) is the third major U.S. film / television production to come-out recently about CIA links to drug-smuggling into the United States during the 1980s, the other two being Kill The Messenger [2014] (a biopic about the late James Webb, the former San Jose Mercury News reporter who first reported on the matter in the mid-1990s, lost his job and ended up committing suicide some years afterwards) and then a "hard-hitting" if perhaps needlessly flashy "Rolling Stone Mag-esque" History Channel sponsored 4-part mini-series America's War on Drugs [2017]

The story is relevant to this day as millions of younger to middle-aged African Americans remain nominally listed as "felons" as a result of a "crack possession" conviction (At the height of the "War on Drugs" in the 1980s-90s "possession" of ANY amount of "crack cocaine" -- whether they actually possessed a rock or two, OR IT WAS PLANTED ON THEM during a "routine police stop" .... -- was made into A FELONY in many states).  This opened the door to many, usually Southern States to "legitimately" takeaway their Civil Rights and make them _ineligible to vote_ FOR THE REST OF THEIR LIVES unless some Southern governor chooses to do something about this, but then to do so would mean opening the door for his/her opponent to accuse him/her of being "soft on felons..." (not likely to happen ...).

Still, in this era of Russian meddling in our news, there's another aspect of this story to consider: The Russians (successors to the Soviets) LOST the Cold War in the 1980s.  The story: "Well we only 'lost' because the CIA 'bent all the rules' and supported anti-Communist forces in Latin America through drug-running," is well ... "very convenient."  And Readers simply consider that IF the Soviet bloc had won the Cold War, then THE BEST we could hope for today would be someone like Vladimir Putin to be "leading over us."  So all in all, IT'S A GOOD THING that the Soviet Bloc lost the Cold War ...

That said, there's enough "smoke" in this story to assume that there's _a lot of fire_ underneath.  So there is a necessity to "come clean" / "clear the air" before our society can legitimately go on.  Many believe that so many potential African American voters were kept from voting in Florida because of "ex-Felon" voting rights restrictions that BOTH the 2000 and the 2016 elections could have resulted in Democratic Patry victories and our country would _very different_ than it is today.

But this film ISN'T about voting rights.  Instead it is about one rather (in)famous drug-running pilot Barry Seal [wikip] [IMDb] (played in the film quite well by Tom Cruise) who even though he was already doing some petty smuggling while being an airline pilot for TWA (to its the film's credit shown, if in not entirely honest hues - in reality he apparently was smuggling more than just "cigars" - in the film's opening minutes) before being recruited by the CIA (in the film by a Monty "Schafer" played by Domhnall Gleeson) to use his flying talents to shoot reconnaissance photos of Communist insurgent camps across Central America.  The pay ... wasn't that great, BUT ... they gave him a really fast turboprop plane WITH ... "plenty of room" for carrying ... OTHER STUFF.

That "other stuff" BECAME cocaine for the then UPSTART Pablo Escobar Medellin Cartel and later GUNS for the Nicaraguan Contras (and _surprisingly_, for the drug cartels...) going from the U.S. to Central / South America and Contras themselves (going back up from Central America) to a surprisingly "busy" airport in rural Mena, Arkansas (during "interestingly enough" ... the time Bill Clinton was governor there ... and George H.W. Bush (Sr.) was first V.P. and then President ...).

It makes for "one heck of the story" and my sense is that from the quite rudimentary "fact checking" that I've done, the film makers didn't necessarily let "strict adherence to the facts" _get in the way_ of telling said "good story" ... (again, it seems that Barry Seal was smuggling "more" than just "cigars" early in his career ...). 

"Good story" or not ... does the film encourage / glamorize crime?  It probably does, but no it would seem to me no more than the films about Prohibition Era mobsters.  Does it encourage cynicism toward government?  Yes it does.  Yet, if the CIA was "looking away" as "freedom fighters" both North American and Latin American profiteered from gun and drug running, then ... some of that cynicism would seem to be legitimately earned the best way to combat such cynicism is to enforce "discipline in the ranks" (expel and jail soldiers / agents who "go off the reservation").

Still in this era of Fake (or at least slanted) "News" a wave of this kind of film -- "our guys" (the CIA) were "just a bunch of crooks" while such "self-criticism" while available [1] [2] _when one looks for it_ on the part of the Russians in Putin's Russia (successors to the Soviets) is ... rare.

So while no one will accuse me of not "enjoying a good story" ... the timing of the film at time of a wave of wave of "Fake" / "Tendentious" stories ... makes me wince a bit.  Still, Tom Cruise certainly played his role well!


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80's Action Attack!: Missing in Action 2 - The Beginning

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1985
Directed by: Lance Hool
Category: Action

When I finally saw Missing in Action for the first time just a few weeks ago, I was surprised with how much I enjoyed it. Yes, I know. It's unfathomable that I never saw it until now, considering my love and obsession for Cannon Films in general (I have Cannon Films logo tattoo!), and my man-love for Chuck Norris (the actor, not the human), yet somehow in some way these never appealed to me until now. No idea why. After I watched it, I began doing some research and discovered that this sequel was actually filmed first, and then shelved while the Golan/Globus cousins hired Joseph Zito (Friday the 13th: The Final Chapter, Invasion USA) to come in and make another one. They liked that one so much better that they released it as the first film, and the original first film (this one) as a sequel/prequel. After having seen them, I get it. Zito's a much more experienced director and his film is much more professional and polished all around. It's just a better looking film. With this one already in the can, they released it the very next year and the rest is history. So let's dig in.

Under the direction of Lance Hool (Steel Dawn), this film is a much more intense experience. While Hool doesn't possess the same kind of slickness behind the camera that Zito demonstrates, he does put the film together rather well. Unlike Zito's more straight-forward action-oriented first film, this prequel is more gritty, more emotional and sometimes uncomfortable to watch, which makes it a completely different viewing experience compared to the previous film. And I felt it worked really well when it was all said and done, ultimately finding it to be just as good, only in a much different darker way.

I grew up on Chuck, and as much as I love the guy as an action hero, even I can admit his acting range is highly limited. And most of his films cater to this fact, limiting his dialogue whenever possible. But then there are times when Norris surprises me, like his funny turn in the abysmal Firewalker. While the film wasn't as great as I had hoped, I couldn't argue that Norris delivered one helluva likable performance while putting on the serious charm. For a film that is quite easily forgettable and has in fact gone largely forgotten, that's the one thing I took away from Firewalker, that given the right material, or motivation, Chuck is a far better actor than we give him credit for. His performance in this film is quite honestly the best dramatic performance I've ever seen from him. While he continues to play the silent, tough type here, he goes through a wide range of emotions, with most of them being in the dramatic range, and to my surprise, he's actually really good. So good in fact that I'm surprised he doesn't get the credit he deserves for it.

With the first film, Chuck spends the entire film working on getting the things he needs to make a rescue attempt in Vietnam, in the hopes of bringing back POW's that he knows are still being held prisoner there. This film takes place entirely in a prison camp, where Braddock (Norris) and his fellow POW's plan an escape. I think what surprised me the most, aside from it's random intensity, was how solid this was. Playing off the familiar prison camp trope's, without putting much of a new spin on the material, writers Steve Bing, Larry Levinson and Arthur Silver, going the conventional route, do offer up a tightly structured film that plays on all the themes that go along with this type of film in a strong way. You can't say it's inventive, but it sure as hell is effective.

I can't say which is better (the first one or this one) because to tell you the truth, they're both equally great, just in very different ways. They both represent strong interpretations of their respective "type" (the first as a standard 80's Cannon action film, the second as a harrowing escape film), and for that, as well as just being entertaining as hell, they deserve equal respect in the action genre. This entry in particular also represents one of Chuck Norris' finest performances, which should be recognized because honestly, they are few and far between. Missing in Action 2 was a strong film, and far better than I anticipated. It plays it straight and serious, with a grittiness to it that I was not expecting. Had I known these were going to be this good, I would have jumped on them years, if not decades sooner. Now, time to get to part 3....

How to see it:
Currently you can see Missing in Action 1 & 2 on Hulu Plus in HD, but I'm not sure for how long. They're also available in an insane number of releases throughout the years on nearly every format. The DVD just seems to be recycled over and over with only a different cover to differentiate it from the previous release. As far as the Blu Ray goes, you can pick it up cheap from several different options, including as a set along with the first one, which all lack any special features. Shout! Factory recently released parts 1 & 3 on Blu Ray, along with commentary and an interview, but for some reason can't find any information on why they weren't able to release Part 2.

Deadbeat (1977)

SOMETHING SINISTER IS NEAR THE 'HOUSE BY THE LAKE'

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Random Media turns a picturesque retreat into a destination of terror in HOUSE BY THE LAKE. Starring James Callis ("Battlestar Galactica", the Bridget Jones series), Anne Dudek ("Covert Affairs", "Big Love") and Amiah Miller (War for the Planet of the Apes, Lights Out) as a family on the edge, HOUSE BY THE LAKE will debut nationwide on Cable VOD, Digital HD and DVD on 10th October 2017.

HOUSE BY THE LAKE is the latest stint in the director's chair by veteran genre scribe Adam Gierasch (Night of the Demons, Tales of Halloween, Fractured, Autopsy), with a script by newcomer Josh Burnell. Natasha Bassett (Hail Caesar!) and Michael Bowen ("Lost", "Breaking Bad") round out the main cast as the family's nanny and the unsettling man down the beach, respectively.

Below you can check out the official poster and trailer.

Synopsis:


A struggling couple, Scott and Karen, pack up their troubled young daughter and head to a picturesque lake house to reconnect and put their problems behind them.  As Emma spends time with her new nanny, the little girl begins fixating on an imaginary friend she calls the Fish Man.  Karen's fear of the strange man down the beach, Emma's fear of the water and her recurring sleepwalking continue to raise tensions in the house and drive a wedge between Scott and Karen until one night Emma disappears. When she's found breathing underwater in the tub, Emma insists she's been with the Fish Man.  And he's coming back for her.


House By The Lake Official Trailer from Random Media on Vimeo.

The MOD physical release of HOUSE BY THE LAKE (SRP $19.95) will be available from all major online retailers.

A Swingers Weekend (2017 EIFF 2)

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With a title like this, you’d be expecting some sex. Well, this low-budget Canadian comedy drama, written by Jon E. Cohen and his wife Nicola Sammeroff, and directed by Cohen, has a lot of talk about sex, but not really much sex, and no nudity at all. 

Three couples gather at a large house on a remote lake in northern Ontario to have ‘a swingers weekend’, though one of the wives (Fiona, played by Mia Kirshner) doesn’t know about the swinging until after she arrives (thus ensuring a bad start to that couple’s weekend). Fiona’s husband, Geoffrey (Jonas Chernick) thinks their 15-year marriage needs a shake-up because they haven’t had sex in almost two years. The weekend will certainly shake things up for them.

Meanwhile, Lisa and Dan (Erin Karpluk and Randal Edwards), the organizers of the weekend, also seem to need a shake-up, which they hope Skai and Teejay (Erin Agostino and Michael Xavier), an attractive young couple, can help with. Needless to say, things don’t go as planned.

There’s a lot of good natural dialogue (during the Q&A with the writers, we were informed that there was a considerable amount of improv, which worked fairly well) and lots of fresh adult humour that avoids the typical pitfalls of recent comedy dramas. The well-cast Canadian actors are what make A Swingers Weekend work. The performances are solid all around, with Edwards and Chernick standing out. 

A Swingers Weekend does suffer from some credibility issues, with some unconvincing scenes near the end, but it’s a comedy after all, so this is somewhat forgivable. All in all, this is a funny and entertaining comedy drama with some discussable moments (about relationships issues) that’s well worth a look when it comes to your local theatres (in Canada at least) in February or March. For a low-budget Canadian film, it’s particularly impressive. A solid ***. My mug is up.

Film Review: TALES THAT WITNESS MADNESS (1973)

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TALES THAT WITNESS MADNESS **** U.K. 1973 Dir: Freddie Francis. 87 mins

A long-derided, but highly enjoyable, facsimile of the Amicus horror anthology format, directed by the man who made their biggest hits. The framing story apes ASYLUM, as Jack Hawkins arrives at a hi-tech (for 1973) psychiatric facility and learns four patient case studies from. The four stories that follow vary in quality, but the opener, “Mr Tiger” offers a unique contribution to the revolt-of-nature sub-genre, as obnoxious, ignorant humans fall prey to young Russell Lewis’ loyal, invisible pet tiger.
Dismissed as a figment of his imagination by his appalling, bickering middle class parents, Mr Tiger ravages them to death while Lewis bangs out a child-friendly tune on his keyboard. “Penny Farthing” is a slight but fun tale of a bicycle acquired by antique dealer Peter McEnery and his girlfriend (Suzy Kendall) that sends them back to Victorian times. It’s punctuated by agreeably melodramatic performances and survives the absurdity of its climax, in which McEnery peddles furtively while his shop goes up in flames.
The most astonishing episode is “Mel”, another truly odd variant on the eco-horror theme, with Michael Jayston cast as a literal “tree-hugger”, a married man who becomes rather too keen on a tree he discovers in the woods with the name “Mel” carved on its trunk. The increasingly comical jealousy that ensues between his neglected wife (Joan Collins) and “Mel” – who starts mischievously shedding right after Collins has done the hoovering – is wonderfully played, and the whole story offers a witty, subversive spoof of typical soap opera domestic love triangles. In retrospect, it is also notable for a hallucinatory pre-EVIL DEAD sequence of Collins assaulted by the nearby forest, her clothes ripped and muddied and breasts bared as the camera takes on similar angles to those from the Raimi film years later. “Mel” is so much fun that the final episode, “Luau” inevitably feels like an anti-climax – a pedestrian tale of erstwhile DR WHO assistant Mary Tamm  groomed as a sacrificial virgin by handsome US writer Michael Petrovich. Tamm looks great in a bikini and Petrovich likewise in his pants, but the most horrifying aspect of the story is literary agent Kim Novak’s gruesome bright green outfit in one scene –  made more disturbing by the suggestive fashion in which she is holding some pineapples.

Review by Steven West