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Friday 30 September 2022

FIFA 23 Review

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FIFA is dead; long live FIFA. EA’s football simulation behemoth has returned for one last hurrah after a nasty public divorce with its licensor, calling itself ‘The World’s Game’ ahead of a painful name change to EA Sports FC, coming next year. But the tagline transcends its bittersweet pomp because, for all intents and purposes, FIFA 23 fittingly does feel like the same game the world has been playing for the past few years, with its reliable end-to-end gameplay and familiar frustrations.

Even at the end of an era, FIFA 23 marks another year of careful attrition from EA, as several tactical and aesthetic revisions supplement its sturdy gameplay blueprint. Yet it’s also an entry that feels both propped up and consumed by its Ragnarok status, begrudgingly pulling down a ruby-red final curtain as the football game genre descends into a maelstrom of chaos.

Theatrical additions to gameplay, like the ferocious Power Shots, ensure that the FIFA name goes out with a bang rather than a whimper. Holding the bumpers and pressing shoot turns your striker into a raid boss with an interruptible attack, the camera pulling focus as they leather the ball, sending bootstrap shockwaves booming through the PS5’s controller speaker. If you get the angle wrong, FIFA 23’s newly improved acrobatic goalkeepers might be able to stop it with their individually simulated fingers, which have saved my bacon on a few occasions.

This meta-shaking type of shot teases out the halcyon days early 2010s FIFA.

Get it right, though, and if the forward has enough space, it’s likely to end up in the back of the net, regardless of how far out you are. This meta-shaking type of shot teases out the halcyon days of Francesco Totti hit-and-hope long shots seen in early 2010s FIFA, but don’t worry; online multiplayer is still plagued with speedy wingers passing it across the box on the break. Why try and have fun, eh?

While it can’t escape the series’ perennial problem of being over-reliant on pacey players entirely, FIFA 23 does reward careful execution across the board. My fingers hurt from pulling the triggers to jockey dangerous counter-attacks, and the intensity of a pass has to be fine-tuned, which is hard to master but satisfying when you place the perfect through ball. Rogue tackles will also leave you wide open, as holding down the associated buttons for too long can lead to a dangerous, crunching commitment that sometimes pays off – but, more often than not, it leads to a nail-biting penalty. This turns tackling with the last man back into a risky but inherently thrilling endeavour.

This turns tackling with the last man back into a risky but inherently thrilling endeavour. 

These changes make FIFA 23 a much slower game than FIFA 22, but the tradeoff is that matches are consistently meaningful. There’s an abundance of drama in each half, usually multiple goals per match across single-player and online, and very few 0-0 draws. Keeping with the theatrics, any goal worth its salt will also result in a victory lap slow-motion replay with overlaid statistics, guaranteeing that hard drives and social feeds the world over will be clogged with viral-friendly goal clips by year’s end. Set Pieces are similarly convincing, affording you more control over the curl and power of your corners and free kicks. It took some time, but the free kicks grew on me eventually, as they’re far more intricate and preferable to the chaotic stick-pulling of previous years. Likewise, Penalty shootouts play out like an intense rhythm game, one in the hands of the gods.

FIFA 23 also includes a visual upgrade – though it’s far more iterative and gradual than last year’s leap to PS5 and Series X – focusing this time on scuff-happy grass and bouncy hairdos. It’s primarily seen in player animations on the pitch rather than actual faces, which still vary wildly in quality between cover stars, regular players, and the cultish crowd. Defenders will poke their leg around the back of a player they’re jockeying, and keepers react convincingly when they don’t have vision, diving to the floor as a defender blocks or stumbling backwards to swat a deflected ball.

The exhausting match commentary is back with a vengeance, but after hearing “he dispatched it with aplomb” one too many times, I was giddily reminded that this year you can turn it all off and attempt to undo the years of psychic damage from all the negging about your play style. This lets you pump in the typically dazzling soundtrack, which offers Bad Bunny bangers and underground earworms from DOSS and Cryalot. There’s something about slotting away a Bruno Guimarães assist while listening to pounding German Drill that makes grinding out a lousy Career Mode season much more palatable.

The microtransaction-ridden Ultimate Team is flush with additions.

Beyond the moment-to-moment gameplay, FIFA 23 predictably focuses its changes on the mode that makes EA the most money. The microtransaction-ridden Ultimate Team is flush with additions, but Career Mode and Volta Football barely get a look-in, which says much about EA’s long-standing attitude to these modes, especially in this supposedly ornamental final FIFA-branded entry. It’s the same gripe we have with Madden NFL 23 and NBA 2K23: despite how much we hate how they tilt the playing field in favor of whoever pays the most, enough people are playing and spending on it that EA just keeps doubling down on it instead of the fair and balanced modes we enjoy more.

Player Career has a new personality system that lets you, in most dramatic air quotes, roleplay as your chosen footballer. For me, this amounted to receiving 25 ‘Maverick Points’ for purchasing a ‘High-end Hybrid Mattress’ for a Serbian striker in the K-League, so you can imagine how long I stuck with that.

You can now choose a real manager (or Ted Lasso).

You can now choose a real manager (or Ted Lasso, however real you consider him to be) to play as in Manager Career too, but unless you want to cosplay as a mute Jason Sudekis, or dress Eddie Howe in a lovely sweater vest, there’s not much to do beyond gawp at the awkward cutscenes. The time spent importing AFC Richmond for its brief novelty value could have easily been better used on, for example, implementing Women’s Club Football into Career Mode, but that’s still not included. It’s a shame because the women’s game is such a compelling example of the power of EA’s HyperMotion motion-capture technology, offering authentic animations that dial up the immersive tension.

This year, Volta Football and Pro Clubs have been folded into one neat section, and they coincidentally both suffer from similar problems. As we know, hell is other people, and nowhere is that more apparent than in Pro Clubs, where drop-in games are brimming with wingers who overwhelm the AI with ludicrous calls to pass the ball. It’s fun to develop your create-a-pro into a Shrek-adjacent goal monster with a closet full of silly hats, but when your progression is tied to your in-game rating, you’re incentivised to perform dispossessing skill move runs that even Saint-Maximin wouldn’t bother with.

It seems EA listened to my cries for an enhanced Volta Arcade, so I take full credit.

Unfortunately, FIFA’s street football vehicle, Volta, suffers a similar fate, epitomised by the new ‘Take Flight’ Signature Ability that turns you into an aerial maestro. Because the power relies upon crossing and teamwork, most just pick Power Strike and haphazardly smack the ball after a glory-seeking run. The good news is that it seems EA listened to my cries for an enhanced Volta Arcade, so I take full credit for the fact that it has now been expanded into a moreish battle royale mode of silly minigames and obstacle courses that evoke the best parts of Fall Guys. I still think it’s criminal that it’s only available on weekends, though.

Quelle surprise, Ultimate Team has received the most attention, and the team training mode I’ve long been looking for has arrived in the form of FUT Moments. Moments offers bite-size pockets of FIFA gameplay in the form of rewarding challenges designed to test your shape and figure out how different cards work together. It’s early doors, but there’s tantalising scope to chronicle player careers and recreate immortal moments of football history with this mode. The current selection features highlights from the golden years of Jurgen Klopp and Kylian Mbappe, but in next year’s game, it’d be awesome to see what EA’s team can do with other footballing legends like Pelé and ‘King’ Kazuyoshi Miura.

Elsewhere, there are sweeping changes to the chemistry system. Chemistry is no longer affected by a player’s position in the formation relative to other players, a change that enables greater diversity across leagues and nations. I don’t think it will change anyone’s strategy too much, but it’s nice knowing that you can throw in wildcard players and have more ways to connect them to top-division players. Trying to find the perfect midfielder to hit that coveted ‘33’ chemistry feels very much like a Squad Building Challenge now, which feels intentional. Squad Building Challenges are still a fine way to lose a few hours doing frankly nothing, but EA’s ‘sudoku for football nerds’ is best played on the companion app, away from Ultimate Team’s sluggish console menus.

Trying to find the perfect midfielder to hit that coveted ‘33’ chemistry feels very much like a Squad Building Challenge.

In a dark portent of the football game licensing wars to come, FIFA has lost the J1 League license this year, which meant no more King Kazu. Instead, this caused a pivot to an exciting Bronze and Silver Australian A League team, featuring the feared strike force of Hibs winger Martin Boyle and the aptly named David Ball. Much like last year, my underdog team caused a few rage quits from opponents with million-coin ensembles, exposing Ultimate Team as a gilded farce. I still felt the deep shame of a double-digit thrashing when the pros found me out, though. When more people started rolling in, I quickly noticed that playing three at the back is a quick route to a 3-0 deficit if the opponent’s wingers have any modicum of pace (as they usually do). Overall, it's par for the course as far as the online multiplayer is concerned, with fidgety twitching and emotions on high across the board; it’s the FIFA we know, at its very frustrating best.

Regardless, Ultimate Team’s bread and butter of buying and selling silly little guys is still impossible to recommend. Even if I still have a bit of fun with it every year without paying, it’s the barbarous nature in which you can quickly be pulled into debt by going full Gollum with one last precious player pack. Beyond consolidating the transfer markets, there have been no meaningful changes to EA’s morally questionable approach to microtransactions, but I did notice that ratings now trickle upwards during the glitzy reveal, which somehow makes it feel even more like a one-armed bandit…



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Hori Split Pad Compact Review

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Nintendo made it difficult for third-party Switch controllers to really shine, as they will struggle to work in all the different situations the Switch console itself can find itself in. Some Switch controllers may try to offer flexibility or just rely on a wireless connection, while others will try to mimic the Switch Joy-Con. Hori’s new Split Pad Compact controllers fall into the latter camp. They also follow up the Hori Split Pad Pro with a more colorful design and reduced size. Ultimately, they serve as a size and capability upgrade to the Joy-Con while coming in at a lower price. Unfortunately, there are some trade-offs that prevent them from being a complete substitute for Nintendo’s original controllers. Let’s dig in.

Hori Split Pad Compact – Design and Features

The Hori Split Pad Compact acts just like Joy-Con at the base level. They slot right into the sides of a Nintendo Switch where Joy-Con would go, and they draw their power right from the Switch. The grips bring a bit of Switch Lite color to the standard Switch consoles, with an Apricot Red model as well as onel that combines a light gray front with what I can only describe as a kind of sickly yellow back.

Don’t be fooled by the “compact” in the name, though. These controllers offer substantially more room for bigger hands than the actual Joy-Con. They provide larger shoulder buttons and triggers, and the thumbsticks are taller, bigger around, and textured. For me this extra size is a considerable improvement for comfort compared to the cramped Joy-Con. There’s still room to go larger in my mind, (I’m 6-foot-3), but the size here will likely prove more comfortable for most adults and even teens.

That size increase has some bigger implications for Switch owners, though. For one, good luck fitting your new Switch and Split Pad Compact combo into a Switch case if you already picked up a form-fitting one. The Split Pad Compact also won’t fit into the Joy-Con grip, though it wouldn’t work even if it could fit, because it only supports a direct connection to the Switch itself – no USB, no Bluetooth, no wireless.

Continuing on the theme of things the Split Pad Compact doesn’t offer, you won’t find HD rumble (or standard definition rumble, for that matter), an NFC reader, an IR camera (though when does the Joy-Con really ever use that anyway), or a gyro sensor. Rumble is convenient to have, sure, but the gyro sensor can be critical for certain games. For instance, you’ll never beat all of the shrines in The Legend of Zelda: Breath of the Wild without that gyro, and aiming arrows may prove more difficult.

The Hori Split Pad Compact offers something to make up for what it lacks, though. Around the back of each grip, there are two buttons that can be mapped to any of the face buttons on the corresponding grip. While useful, that does unfortunately mean you can’t map any of the ABXY buttons onto the left grip’s back button, nor D-pad buttons onto the right grip’s. Hori tops this off with a Turbo button on each grip that can automatically, rapidly repeat an input while a button is held down.

An interesting little extra on the design of the Split Pad Compact controller is a small piece of plastic that extends to overlap with the back of the Switch itself and bumps out from the back. This piece likely aims to protect the controller trigger when the Switch is set down on a table while also reducing the likelihood of damaging the Switch’s controller rails with the extra leverage the larger controllers provide.

Hori Split Pad Compact – Gaming and Performance

The Hori Split Pad Compact is a competent set of controls that offers a performance upgrade over the standard Joy-Con controls. The extra room to move on the joysticks makes delicate and precise movements far easier to execute. Playing Breath of the Wild, I didn’t find myself as frequently veering off course while teetering along the edge of some escarpment – something that happened often with the Joy-Con’s clunky joysticks.

The face buttons are larger and easier to land on with a quick thumb press, and all of the buttons have a little more play before depressing than those of the Joy-Con. They have a bit of resistance without feeling mushy to press down, but they can wiggle about a little bit. This doesn’t make them any less dependable in the throes of combat. Though the triggers have a bit more room to move, Hori stuck with non-analog ones that lack sensitivity.

The buttons on the underside Split Pad Compact are an effective extra tool in the arsenal. They’re easy to map to a face button, and let me keep my hands on the analog sticks for consistent control. In Breath of the Wild, I was able to combine them with Turbo on the right controls to pull off the infinite running trick which normally entails holding down on the D-Pad and repeatedly tapping B – a maneuver that’s terribly tricky to accomplish normally without having to let go over the thumbsticks.

Though the Hori Split Pad Compact improves on the basic controls, its lack of certain control features holds it back as a complete replacement for the original Joy-Con. Not being able to aim or control the game with a gyroscope proved troublesome, and I found myself having to switch back to the Joy-Con to complete challenges (FWIW: it’s possible to use a Split Pad Compact grip on one side of the Switch and a Joy-Con on the other to get some of the benefit of Hori’s controls while retaining gyroscopic aim). Since the Split Pad Compact also only works while connected to the Switch, they’re no use while the console is docked.



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My Best Friend's Exorcism Review

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My Best Friend's Exorcism hits Prime Video on Sept. 30, 2022.

Damon Thomas' adaptation of Grady Hendrix's Quirk Books novel My Best Friend's Exorcism is young adult horror that leans heavier on “young adult” than theological “horror.” With exorcism in the title, all the subgenre expectations of spew sessions and possession outbursts are there — but forever as a gateway presentation. There's nothing outright scary à la The Exorcist, as teleplay writer Jenna Lamia focuses on 1980s nostalgia references that soften friendships run afoul by the devil. My Best Friend's Exorcism pulls its punches and relies heavily on digital effects even for puked drenchings, but nonetheless tells an easy-streaming story that lets teenage girls command the screen in a once primarily male-driven field.

Abby Rivers (Elsie Fisher) and Gretchen Lang (Amiah Miller) are your average religious school besties. Together with Margaret Chisolm (Rachel Ogechi Kanu) and Glee Tanaka (Cathy Ang), they're a well-rounded girl gang of on-screen stereotypes from Abby's self-conscious acne masking to Margaret's flaunting of PDA as the only member with a boyfriend. One night at Margaret's lake house, they all ingest LSD and Gretchen disappears inside a supposedly haunted cabin. Abby fears her inseparable sister for life isn't herself anymore after Gretchen starts acting differently, and that's when a rift stemming from Gretchen's newfound bad attitude drives the four friends apart. Was Gretchen’s disappearance just a bad trip? Or is something evil behind her personality makeover?

My Best Friend's Exorcism drenches audiences in ‘80s references early, from A-ha soundtrack beats to teen magazine friendship quizzes, distinctive Diet Pepsi cans – the works. The dialogue loves to keep reminding us of the cultural period, like hairstyles and synthwave score choices weren't a giveaway. It's an era when kids were more independent, given that Abby's father never leaves his recliner and Gretchen's more Reagan-era parents care more about an illegal acid tablet than their daughter's well-being. Thomas has enough command over the ‘80s environments where it never feels too schticky, yet references can be a tad piled-on when attempting too hard to turn back time.

The dynamic between all four girls tracks insecurities, power struggles, and maturation with enough relatability. Abby and Gretchen go from signing off phone calls with "LYLAS" (Love You Like A Sister) to embarrassing one another publicly, and you can feel the breakneck discomfort. My Best Friend's Exorcism highlights such an awkward phase in anyone's life when popularity can turn us into backstabbing, jealous, ego-driven monsters. High school changes people; we grow into our bodies and allow hormones to take the wheel, which a demonic possession metaphor slyly puts into perspective. The leading quartet of actors sell their arguments as well as their reconciliations, navigating a sea of horndog classmates and God's constant judgment with an emphasis on prudish nun-enforced school rules as a contrast to the damned horrors that surface.

Thomas ensures a proper balance between entertainment, demonic banishment, and naive soul searching.

Unfortunately, exorcism elements aren't raising any hairs nor unleashing mayhem hellscapes. Most of the real possession action doesn’t come until the finale, which means a longer stretch of Gretchen running loose, causing possibly fatal mischief. There's not much opportunity for special effects when preying upon someone's peanut allergies, although Gretchen's other sneaky assassination attempt does have a fun moment when the victim's pooch attacks a computerized creature wriggling out the victim's mouth. Another spot towards the end relies on the same pixelation when confronting Gretchen's unholy invader, which is a slight letdown. Much of My Best Friend's Exorcism depends on Gretchen looking ghostly pale, with her lip flaking to denote bodily rot while using lies to spread hatred or her beauty to spur temptation. There's not much by way of nightmarish exorcism imagery, mainly because there's nothing particularly ambitious about the horror glimpses we're shown.

That said, Thomas ensures a proper balance between entertainment, demonic banishment, and naive soul searching. Christopher Lowell's portrayal of rookie exorcist Christian Lemon — one-third of a Jesus-worshipping bodybuilder trio that gives inspirational mall and school presentations — brings a comedic goofiness that humorously juxtaposes against Elsie Fisher's gawking straight face. There's also a thoughtful subplot about Abby believing Gretchen's been raped in the woods, which leads to teaching others about PTSD signs — an evergreen lesson as her concerns go unheard. Thomas directs a comedy first and foremost but still retains the importance behind both sillier elements that cause intermittent chuckles along with representative storytelling that speaks to younger demographics.



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Dead for a Dollar Review

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Dead for a Dollar releases theatrically Friday, Sept. 30th.

Understandably, cinematic curiosity may grab hold when you learn Walter Hill (The Warriors, 48 Hrs.) wrote and directed a new Western starring Christoph Waltz and Willem Dafoe, but Dead for a Dollar is a meandering shoot 'em up with no clear direction other than to gently fritter away the talents of a strong ensemble.

The story of a bounty hunter, Max Borlund (Waltz), hired to rescue a rich man's kidnapped wife (pssst, she's not kidnapped, just run off with her beau to Mexico), Dead for a Dollar offers an interesting set up but then stumbles with it in the second half, unable to follow through in a way that satisfyingly services the story or characters. Max is dastardly one moment, honorable the next, with no proper vision for who he is as a peripheral lawman.

Dafoe's poker-playing no-goodnik, Joe Cribbens, bearing a grudge against Max after five years in prison, is a wild card who never amounts to much other than allowing Dafoe and Waltz to occasionally share screen time. That can be fun in its own right, but the back part of the saga feels like it was written on the fly and sewn up in a random, lazy manner. There are extraneous scenes that don't need to be there, choices made that feel arbitrary, and a grander sense looming of a cast and crew making use of a Wild West set simply because it's there.

Benjamin Bratt, Hamish Linklater, Warren Burke, and Brandon Scott help round out the cast, with The Marvelous Mrs. Maisel's Rachel Brosnahan playing the fleeing Rachel Price, one of the better defined characters. Because Dead for a Dollar has so many moving -- and sometimes random-feeling -- parts, there's an attempt made to make things feel dangerous and spontaneous, as if anyone could die at any moment, rather unceremoniously. But the film takes itself too seriously to make that type of playfulness work, so some of the more abrupt moments just fall flat.

The cast makes the most of this winding road tale full of archetypes and eccentrics, but no theme introduced is fully explored. To be fair, Dead for a Dollar is humbly presented. It's not designed for big impact. Displayed in muted sepia tones (which give it an "authentic" photograph feel while masking some of the budget constraints), it's meant to play out like a twisty, turny crime movie with a collision course on its mind. Waltz and Dafoe kick off the adventure by warning each other to steer clear, signaling that fate will draw them together by the end. But will they meet up as enemies or unlikely allies?

Brosnahan's runaway Rachel and Brandon Scott's AWOL Buffalo Soldier Elijah Jones are lovers but also mostly realistic ones, not romantic dreamers. As an interracial couple fleeing their own respective hells, they understand the temporary nature of this trek. And while that's an interesting take, the film doesn't quite know what to do with that when Max comes calling in the first act, ready to take her home. But Max himself isn't a stably rooted character either anyhow. Waltz is always great, but we understand very little about Max and are given no indication as to why he should care about the truth and their plight. Of course, it doesn't help matters that Waltz played a better bounty hunter in a vastly better Western a decade ago.

There's no one truly likable, or fully loathsome, on this journey, which just sort of rolls down the road like a tumbleweed.

A surprise standout here is Warren Burke's Sergeant Poe, the Buffalo Soldier who accompanies Max on his hired mission to Mexico. Dead for a Dollar doesn't know what to do with him either at times, motivation-wise, but there are moments when he actually comes off as the film's stealth hero. By the end, bullets will have flown, bodies will have dropped, and you'll have definitely watched a movie, but one without much creative spark aside from its fun casting. There's no one truly likable, or fully loathsome, on this journey, which just sort of rolls down the road like a tumbleweed.



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FIFA 23 Legacy Edition (Switch) Review

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The year is 2022. EA has returned with their annual gift of regretful déjà vu for Nintendo Switch owners. A dystopian future is (mercifully?) nearer than we think.

I could copy and paste my review like I did two years ago, but unlike some of the folks at EA I don’t take much satisfaction in reusing material. Oops, I think that’s what I said last year, actually. I struggle to care at this point.

For the FOURTH year in a row, EA Sports has released a virtually unchanged edition of FIFA onto the Nintendo Switch.

As stated on the official website, “FIFA 23 Legacy Edition will feature the same gameplay innovation from FIFA 22 without any new development or significant enhancements.”

As a reminder, here’s what was written there for last year’s game: “FIFA 22 Legacy Edition will feature the same gameplay innovation from FIFA 21 without any new development or significant enhancements.”

Oh, and the year before: “FIFA 21 Legacy Edition will feature the same gameplay innovation from FIFA 20 without any new development or significant enhancements.”

And to complete the set: “FIFA 20 Legacy Edition will feature the same gameplay innovation from FIFA 19 without any new development or significant enhancements.”

And let me remind you that FIFA 19 on Switch wasn’t exactly great in the first place…

Due to the FIFA license sailing away from EA towards pastures new next year this will be the final EA game called FIFA to appear on a Nintendo console. What a sad legacy to leave behind.

Next year we'll likely be reading “EA Sports FC 24 Legacy Edition will feature the same gameplay innovation from FIFA 23 without any new development or significant enhancements."

Let’s hope for better.



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Thursday 29 September 2022

The Lord of the Rings: The Rings of Power Episode 6 Review - "Udûn"

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Warning: the below contains full spoilers for The Lord of the Rings: The Rings of Power Episode 6, which is now streaming on Prime Video. To refresh your memory, check out our review of last week's episode.

Lord of the Rings: The Rings of Power has felt a little languid at times as it delivered dense exposition to establish its characters, the state of the world, and what’s at stake. But all of that groundlaying paid off in Episode 6, which served up an absolutely extraordinary hour of television that’s reminiscent of The Lord of the Rings: The Two Towers, the Battle of Sodden Hill in The Witcher, and the best of Game of Thrones.

Adar came off as a villainous cliche in Episode 4, but he gets a lot more development in "Udûn," which reveals his history and motivations. An elf twisted by Morgoth to become one of the first Orcs, or Uruk as he prefers to be called, he still keeps to some elven traditions while feeling loyalty to his “children” and trying to do what’s best for them, which he’s decided means wiping the Southlands off the map to create Mordor.

I’d love to know how Adar and Waldreg survived the collapse of Ostirith pretty much unscathed, but the entire episode is a back and forth as the humans and Adar’s forces take turns scoring big wins that then crumble into scathing defeats.The real action of the episode happens after Bronwyn and Arondir lead the retreat from the guard tower and start bracing for the counter offensive with plenty of ingenuity and tender moments.

Arondir understandably tries to break the hilt, but at the very heart of the Lord of the Rings is the concept that powerful artifacts are not easily destroyed. Arondir’s hammer breaking before the hilt does is a direct reference to Gimli’s hammer shattering when he tried to sunder the One Ring in The Fellowship of the Ring. Arondir’s smart to hide it, but dark artifacts are also deeply corrupting. While Theo’s trying to resist the hilt’s pull, he’s a curious kid in over his head.

Seeing the “life in defiance of death” seed-planting ritual performed twice this episode provides some strong character- and world-building. When Adar first does it, it seemed like dark magic meant to spawn more orcs or maybe even protect his soul phylactery style should he fall in battle. But it’s just part of his past that he clings to, driving home why he decided to give up on Sauron. Adar was understandably tired of being a lieutenant to a distracted boss who views the orcs as disposable cannon fodder at best and has more recently been using them as experimental subjects for his research.

Tolkien’s orcs have a complicated legacy that’s still playing out in debates within Dungeons & Dragons and other fantasy tabletop games, with disagreements over what it means to have races that are evil by nature, designed for heroes to be able to kill without feeling bad. The Rings of Power is reckoning with that through the different ways the orcs are viewed by Adar, Sauron, and Galadriel. They may have been created by a force of evil, but now that they exist with their own feelings and worldviews, Galadriel’s genocidal vow feels utterly monstrous. Adar pointing out her own similarities to Sauron is a clever nod to the darkness she invokes when Frodo offers her the One Ring — she could actually be Sauron’s successor because she has the single-minded will to reshape Middle-earth in her image. She might do so in the name of fighting evil, but the results would be just as catastrophic.

Episode 6 showed a masterful ability to weave all this character building into dramatic action.

Galadriel and Halbrand take turns this episode pulling each other out of vengeful rages, the bond between them deepening up until the point it looked like it was about to actually get romantic before they’re interrupted to be pulled into a royal council. The writers seem to be drawing a contrast between these supposedly noble saviors with somewhat questionable morality and Bronywn and Arondir, who seem more grounded and genuinely good. Bronwyn looked relieved to give up the leadership she’d earned through battle to the prophesied king Halbrand, but it’s very questionable if she actually should. After spending so much time running from a past he still hasn’t explained, it’s unclear that Halbrand’s actually ready to accept this level of responsibility.

Episode 6 showed a masterful ability to weave all this character building into dramatic action. The scrappy traps the people of the Southlands laid for the orcs, and Bronwyn’s clutch killing of an orc scout to make sure they went off, produces a victory that’s all too short lived as it’s revealed that Adar mostly sent in humans in the first wave. While Waldreg is a true traitor, most of the people who defected were probably just desperate and scared. Making the villagers kill each other is brutal and also plays into Adar’s ethos that an orc’s life has just as much value as a human’s.

Of course Númenor shows up to save the day in a scene highly reminiscent of the arrival of the Riders of Rohan. The Lord of the Rings has always been a great franchise for horse lovers and there’s lots of spectacular riding shots in this episode, particularly involving Galadriel’s impressive saddle acrobatics and her chase scene with Adar. Apparently Isildur’s mom was also part of a group with close connection to horses, so we’ll likely get more development on that front now that Isildur’s bonded himself to his mount in battle.

The fight scenes are brilliantly directed throughout this episode. Someone involved in the choreography clearly has a thing for chains, which are used cleverly on the individual level against Arondir and en masse with the cavalry tripping the orcs. The fight between Arondir and a particularly giant orc was thrilling, with an utterly brutal conclusion that gives Bronwyn yet another moment to shine. While a handful of the cast have plot armor because it’s a prequel, the stakes feel real because both Arondir and Bronwyn are original characters, and I thought for a while that Bronywn was actually going to die this episode when the tide turned and she got shot.

Episode 6 of The Rings of Power delivers exceptional action and character development in a high-stakes hour.

But even Númenor’s triumph doesn’t last too long because Adar utterly outplayed his opposition with some clever sleight of hand and use of a loyal agent. We’d been warned of Sauron’s plans for the Southlands and apparently when he got engrossed trying to figure out the shadow realm connected to the One Ring, Adar decided to execute the scheme on his own. He really wasn’t kidding about reshaping Middle-earth. When the key first twisted, it seemed like it was just going to cause a devastating flood. Watching the mechanics of the device flow until the water hit the magma and triggered a devastating volcanic reaction played out like a dramatic big-budget disaster movie where the heroes lose in the end.

With all the action focused on the Southlands, there were no dwarves or harfoots at all in this episode. We’ll see next week what the timeline difference is in these plots — it could be a catch up with their stories to get everyone to the point where Mordor is formed or Adar’s successful gambit could come crashing into their stories immediately. Hopefully the show can continue to build on the momentum of Episode 6 in the final two episodes of the season.



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She-Hulk: Attorney At Law - Episode 7 Review

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Warning: the below contains full spoilers for Episode 7 of She-Hulk: Attorney At Law, which is now streaming on Disney+. To refresh your memory, check out our review of last week's episode.

As She-Hulk: Attorney At Law hit its sitcom stride, my biggest complaint about its last couple episodes was that it was beginning to feel a bit too formulaic, as charming as its super-lawyer premise is. Well, it seems they heard me, because Episode 7, “The Retreat,” shirks formula with a break from the lawyer’s office, making for one of She-Hulk’s stronger episodes here in the latter half of the season and a needed refresh as we approach the finish line.

We start off with a classic rom-com montage: now that She-Hulk has shown us some of the less-desirable parts of dating, we get to the good parts, with Jen nervously taking a shot before a date, exchanging flirty texts, and eventually sleeping with Josh, the charming bachelor we met at last week’s wedding. Though if you’re like me and always had a feeling Josh was too good to be true, you watched these scenes with a pit in your stomach, only to be proven correct at the end of this episode.

But more on that later: Tatiana Maslany is a perfect rom-com lead here, selling the giddy high of finally meeting someone you click with, only to deflate in eventual disappointment when their interest seems to start trailing off. She-Hulk remains good at embodying Jen’s point of view, having us waiting for Josh’s text just as much as she is as Friday turns to Saturday and then Sunday.

Sunday is when Jen’s obsessive refreshing is interrupted briefly by her client Emil Blonsky, aka The Abomination, as his parole officer asks Jen to accompany him to check things out when there’s a malfunction alert on his inhibitor. Once they get there, all seems well… that is, until Man-Bull and El Aguila burst onto the scene in an argument and wreck Jen’s car in the scuffle. You’ve really gotta appreciate how deep some of these deep MCU cuts are: She-Hulk continues to introduce more mainstream viewers to lesser-known characters of the comics, and it’s a real treat for those who might recognize these players. Despite how tonally unique and standalone She-Hulk is, it always manages to remind us that it is, without a shadow of a doubt, an MCU show.

As far as to how these two heroes look, well, it takes some adjusting. Nate Hurd and Joseph Castillo-Midyett (Man-Bull and El Aguila, respectively) are doing great work under those costumes, but at first, their appearances are distractingly goofy, and their super-appearances don’t feel quite up to par with the rest of the show. That’s a minor complaint, though, as they eventually fit into She-Hulk’s zany “live-action cartoon” vibe.

Blonsky convinces Jen that her now-busted Prime Prius could actually be a vehicle for a teachable moment as she’s stranded at his admittedly lovely vista. As she lacks the cell service to continue checking for a text from Josh, she wanders into a group therapy session, which turns out to be the best part of the episode. It’s here we see Man-Bull and El Aguila with Porcupine and Saracen (two more deep-cut MCU villains) in a discussion led by Blonsky, as they hash out their feelings and Man-Bull and El Aguila’s codependence issues.

It’s one of Maslany’s best showings so far, who’s heart-wrenching even under the She-Hulk digital effects.

That’s when we get an appearance from… wait, who is that? As one of Jen’s attackers from an earlier episode enters the session, She-Hulk: Attorney At Law gets one of its best uses of its fourth-wall-breaking yet, as Jen gives us a special “Previously On” segment for this guy, Wrecker – which is wonderfully self-aware, because at first, even I didn’t recognize him. The former villain seems to have been rehabilitated by Blonsky’s program, and he and Jen are able to talk it out a bit before Jen opens up about the situation with Josh. What follows is some lively, funny, relatable banter among the group as they break the harsh truth to Jen: she’s probably been ghosted.

It’s a fantastic scene, with each D-list villain riffing off each other wonderfully while slipping in some therapy buzzwords. But it leads to one of the most emotionally resonant moments for Jen yet, as she gets personal about her conflicting feelings about her Hulk form. It’s one of Maslany’s best showings so far, who’s heart-wrenching even under the She-Hulk digital effects. Of course, this is a sitcom, so the ice is broken when Porcupine feels comfortable enough to take off his mask and stinks up the place, which got an actual out-loud laugh from me.

“The Retreat” ends in a satisfying place, with Jen saying goodbye to her therapy buddies with some self-discovered closure, having deleted Josh’s number. And we even get some answers as to what really happened with Josh: turns out, he actually is a real bad dude, being shown to have stolen some of Jen’s data (and possibly more?) after sleeping with her. She-Hulk is no doubt ramping up its larger story, but you have to wonder: how much can it really cover with only two presumably 30-minute entries left? As a standalone episode, this was a great one, but there’s still a lot of ground to cover with just around an hour of this season left.



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Bring It On: Cheer Or Die Review

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Bring It On: Cheer or Die is now available on DVD and digital, and will premiere on Syfy Oct. 7.

Bring It On: Cheer or Die is painfully disappointing in ways I haven't had time to reconcile yet. How does the slasher entry in this cutthroat cheerleader franchise pack the least amount of bite? Karen Lam's direction smacks of Lifetime after-school flatness that continually forgets to be a horror film. Rebekah McKendry and Dana Schwartz's screenplay reads like someone gun-to-head forced them to update a shelved Bring It On pitch with Halloween marketability. There's more blood featured on the poster's abdomen splatter than all 90 minutes, performances are a mixed bag (to put it nicely), and whatever brand excitement the whole "Bring It On goes horror!" surprise ignited? That deflates quicker than Pennywise's balloons against a rocket launcher explosion.

In this Bring It On canon, Diablos cheerleaders compete without aerial combos against far superior programs like the White Knights. They're banned from tosses and such by Principal Simmons (Missi Pyle), blowback from an incident some 20 years prior when a Diablos flier broke her neck falling during a stunt. Simmons threatens co-captains Abby Synger (Kerri Medders) and McKayla Miller (Tiera Skovbye) with program eradication should they attempt such routines on school grounds. That's why the Diablos leaders decide their cheer squad will practice overnight on Halloween weekend in an abandoned high school across town.

All the makings of an absurd sleepover slasher flick with choreographed pep routines, none of the execution wherewithal to make anything matter.

It's apparent that Bring It On: Cheer or Die fancies itself as gateway horror for pre-teenagers, but there's vapid interest in engaging with horror frameworks. The PG-13 rating almost feels like a practical joke, given how slasher ferocity is padded like mats stacked to the gymnasium ceiling. The script tries to be gossipy and zippy, but dialogue feels obnoxiously manufactured whether contemporary high schoolers quote Gremlins ("Bright Light," uh huh) or attitude snaps read unnatural. Lam scrambles to hide slasher attributes in any way possible, unlike recent gateway horror films like Spirit Halloween that do their job introducing younger audiences to some of the barbed edges of horror enjoyment.

Slasher action is 100% bloodless as the Diablos mascot hunts cheerleaders who keep splitting apart in the now spooky abandoned storage building. Not joking; there's one visible trace of blood as [redacted] presses a noticeably plastic knife to Injured Blonde Cheerleader's neck, but it's more believable that the prop master accidentally smudged strawberry jelly on the fake weapon. Absolutely no gore is shown, nor are there practical death effects, whether a guillotine paper cutter chops fingers off or a gardening tool slices someone's throat open — the camera refuses to reveal severed fingers, while the neck-wound victim topples over, without even a droplet on the ground (seen from above).

Draining Bring It On: Cheer or Die of any crimson liquids is embarrassing, given how its cinematography doesn’t divert awareness. The filmmakers hope you forget bodies bleed as they pan over clean corpses with their heads turned away or punctures sneakily overturned. It operates in cheap tricks that destroy any tickle of a dreadful mood, especially as the actors seem to forget they’re wounded multiple times — even when floppy arrows protrude from their arms like they've been glued on as some backyard home movie workaround. Lam has no command over suspense that otherwise drives slasher whodunit scenarios, squandering whatever entry-level mystery could exist. Horror elements are almost as unbelievable as the excitement over rudimentary cheer activities sold as next-level accomplishments or exceptionally staged falls as pyramids topple bodies for dramatic reasons.

As a Bring It On movie, there's a lack of meaty conflict because we're stuck with the Diablos only, missing that squad-on-squad banter.

Too many bonkers concepts flood the mind when you hear "Bring It On, but horror," and Bring It On: Cheer or Die capitalizes on none of them. As a Bring It On movie, there's a lack of meaty conflict because we're stuck with the Diablos only, missing that squad-on-squad banter. Maybe a tighter horror movie would erase that frustration, but as is, McKendry and Schwartz limbo under even in lowest-bar gateway horror terms. Bring It On: Cheer or Die masquerades as a horror title; barely a crumb stuck to the bottom of vastly superior gateway horror choices like, for no particular reason, Hocus Pocus. Factor in the laziness of killing pivotal characters off-screen, lurching at the pace of an out-of-breath Jason Voorhees, and poser attitudes toward slasher homages? Not even Missi Pyle's craziest eyes can save this skippable trainwreck of an insultingly ill-conceived stunt sequel.



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Hocus Pocus 2 Review

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Hocus Pocus 2 debuts on Disney+ on Sept. 30, 2022.

Almost 20 years ago, the original Hocus Pocus debuted to lackluster reviews and limited financial returns. Thankfully, you can’t keep a bad witch down. After becoming a beloved cult favorite over the years, the Sanderson Sisters have returned with all new mischievous plans, and they’ve brought a brand new cast along with them. It may be cursed with some shoddy greenscreen, but it still reminds us how these witches were able to cast a spell on us in the first place.

2022’s sequel follows Becca (Whitney Peak), Izzy (Belissa Escobedo), and Cassie (Lilia Buckingham) as they fight to keep Salem safe from the series’ original witches, Winifred (Bette Midler), Mary (Kathy Najimy), and Sarah (Sarah Jessica Parker). We also meet enthusiastic new players like the wonderful Gilbert (Sam Richardson) and see the return of old favorites like Billy Butcherson (Doug Jones). The original cast step into their former roles like they’re well broken-in witch boots, and all the new players make admirable additions to the Hocus Pocus franchise.

Hannah Waddingham is, of course, absolutely brilliant as the Witch Mother. Unfortunately, she just so happens to be criminally underused.

Now that that’s been addressed, let’s talk about Hocus Pocus 2’s biggest issue: it’s not filmed in Salem. Now, plenty of films don’t shoot on location. Even the original Hocus Pocus was shot mostly on a soundstage in Los Angeles while graveyard and other exterior shots took place in Massachusetts. The reason it’s a problem here is because it looks like it wasn’t filmed in Salem. It’s wonderfully nostalgic that Hocus Pocus 2 feels like the Disney Channel Original Movies of yore, but the fact that it looks like one in 2022 is pretty rough. The most egregious example is the moonlit forest backdrop that takes up much of the third act. You’ll know it when you see it.

Outside of some ugly greenscreen work (and a complete lack of cobblestone in what’s meant to be historic downtown Salem), Hocus Pocus 2 has some fun attention to detail. For example, the town’s Mayor Traske is noted to have ties to the Salem Witch Trials, and the family does! (Though their name was spelled Trask. Anyway, Bridget Bishop: Innocent.) Meanwhile, there are some nice witchy details like the use of angelica leaves to lift curses. It’s really the root that’s used for protection, but as IGN’s Resident Witch I am letting it slide. Finally, Waddingham’s Witch Mother tells a young Winnifred that “one day, Salem will belong to us.” And it does. Today, up to 1,600 of Salem’s population identify as witches, and you can’t throw a stone downtown without hitting a shop devoted to or celebrating the craft.

Hocus Pocus 2 is all about the power of the coven. Some folks might call it trite or twee, but I personally find it hard to root against a story about sisterhood even if it may be guilty of a little fluff. Besides, who cares about the quest for ultimate power if you can’t take your sisters along with you? Who will you sing magical bops with if they’re not there to back you up? What are you gonna do, bewitch an entire town by yourself?!

The original cast return to remind us why Hocus Pocus became a cult classic.

Legacy sequels will, of course, always get compared to their predecessors, but it’s practically apples and oranges with Hocus Pocus and Hocus Pocus 2. They both have the same leading ladies, but the two focus on completely different things otherwise. The original was all about its non-witch human characters like Max, Dani, and Allison. Meanwhile, though Hocus Pocus 2 does give Becca, Izzy, and Cassie their fair share of relevant screen time, this one feels like it’s more for the Sanderson Sisters. Whether you believe that’s for cynical, merch-selling reasons or because of the uptick in stories told from the “villain” perspective is up to you. Either way, it works for the story and complements the new player’s narrative arc quite nicely. Plus, the focus on the Sanderson Sisters means we get way more musical moments than we did in the first movie! The main number is the show stopper, but their other songs are fun enough.

Like the original, Hocus Pocus 2 leaves things open for another sequel. That doesn’t really feel necessary with where things close out, but it is a nice homage to the final scene from the 1993 movie. Only time will tell if this is the last we see of the Sanderson Sisters and Becca’s circle but, for now, it was a happy enough return to Salem.

Amelia is the entertainment Streaming Editor here at IGN. She's also a film and television critic who spends too much time talking about dinosaurs, superheroes, and folk horror. You can usually find her with her dog, Rogers. There may be cheeseburgers involved. Follow her across social @ThatWitchMia



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Wednesday 28 September 2022

The DioField Chronicle Review

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It’s easy to draw lines between The DioField Chronicle’s sweeping story of war, magic, and shady politics and those of Game of Thrones or Fire Emblem. I'd have to write off the whole fantasy genre if borrowing were a deal-breaker, but they still have to figure out how to assemble those parts into something that stands alone. In this case, it ends up feeling like, at best, a generic version of its inspirations. And while its real-time combat system is an exciting twist, it's often difficult to work with the controls as you fight through its quick, engaging battles. Even the characters who end up having unexpected or interesting roles to play in the unfolding tale end up coming across a bit dull, though that's no fault of the veteran voice cast.

The world of DioField feels like anyone's first try making up a whole new setting for a Dungeons & Dragons campaign, complete with an evil empire trying to conquer everything and characters earnestly named things like "Fredret Lester." You have corrupt nobles scheming, a fanatical church, beast men – it's all well within the Big Book of Fantasy Tropes, but it's not entirely without charm. There is something homey about it all, even if it feels fairly predictable.

I was impressed with the entire voice cast who bring this world to life, including some excellent, gravelly narration from Geralt of Rivia himself, Doug Cockle. But the voice direction leaves a lot to be desired, with many important conversations let down by stiff and unenergetic deliveries. While each member of the main cast has a complex and interesting backstory and motivations, the way the English dialogue is written doesn't always come across as very authentic.

The variety of enemies and diverse encounter design keeps any two missions from feeling too similar.

The same is true of combat, as well. The fundamentals are strong: it's sort of a pausable real-time Fire Emblem with waypoint-based movement, lots of environmental interactions, and plenty of diverse classes and abilities to weave together. When it's running smoothly and I'm blasting my way through hordes of foes using careful positioning and skill combos, it makes me eager for more. Across six chapters and more than 40 hours, it can certainly deliver plenty of new adventures, too. The variety of enemies and diverse encounter design, which may have you desperately defending a castle gate or taking on a multi-stage boss fight, keeps any two missions from feeling too similar.

The figurative bugbear looming over all of this is the control scheme, which is just a pain. It seems designed for a controller, but I actually find it equally annoying whether I chose to play it that way or with a mouse and keyboard. Selecting units is imprecise. You can pause the battle by selecting units, but there's no standalone pause button. Certain simple actions just take more steps than I feel like they need to. If I have my knight selected and I hit the key to bring up the special moves menu, why does it switch to a different character and make me select him again? I thought I would eventually get used to frustrations like that, but at best I learned to tolerate it a bit more by the end.

I thought I would eventually get used to control frustrations.

And it's a bummer, really, because the kinds of clever things you can pull off would have made me look forward to every mission otherwise. Each one is brisk, about five to 10 minutes long even with a lot of pausing, which keeps the action fierce and the campaign from ever bogging down – even if you do all the optional stuff like I did. Mission types that I would normally find annoying, like escorts, become almost a speedrunning puzzle that encourages me to think about the optimal path of destruction before I even hit "go."

Single-target damage is fairly hard to come by, on purpose. So the flow of a battle usually revolves around luring or forcibly moving enemies into a spot where you can dump all of your area attacks on them for maximum effect. Attacks from behind always deal extra ambush damage, so abilities that let you redirect aggression and reposition your own party go a long way. Charging in head-first will almost always get you killed, but it's incredibly satisfying when you manage to line up a cavalry charge, an exploding barrel, a summon ability, and a magical meteor shower to melt an entire army in the blink of an eye.

Failure usually isn't that big a deal, since missions are fairly short and designed to be replayed.

Bosses like the fearsome wolf Fenrir have multiple health bars you have to deplete, which changes up the pacing of some missions in interesting ways, allowing healers more of an opportunity to shine. And of course, enemy casters and elite fighters have area attacks of their own that you have to scramble to avoid – which made me even more annoyed at the lack of a simple pause button I could hit to collect my thoughts. At least failure usually isn't that big a deal, since even the longest missions are fairly short and designed to be replayed for bonus objectives. However, some missions do feature long dialogue sequences you have to button mash through every time you replay them.

It’s worth it to go back and check all those boxes, since they give you more resources to use in the expansive progression systems. It can be a bit overwhelming at first to keep track of all the different currencies: individual characters earn ability points to boost their stats, while each character class can be upgraded with skill points, and your company of mercenaries (and later Knights) gains Unit XP as well as ranks in individual facilities like the shop and the blacksmith. Oh, and I didn't even mention how you can spend rare resources to unlock new summons and weapons.

But once I got a handle on it, I really enjoyed the level of customization it gave me over my four-character party. There's a satisfying sense of taking a ragtag group of sellswords and training them up into one of the most feared fighting forces on the continent. And the economy is very well-balanced, so I never got to a point where I couldn't find anything meaningful to spend my shiny treasure on.

DioField is pretty good-looking, too. The lighting and character models aren't going to blow anyone's mind, but it shows a strong art direction and creates a sense of identity for everyone, from the main cast down to minor characters. I may not always approve of their fashion choices – purple boots with a blue uniform, really? But looking at anyone in this world tells you a lot about who they are and what they do.

That being said, the vibe is a bit too much “generic medieval fantasy.” Square Enix is usually good at putting its own spin on these tropes in games like Final Fantasy and Chrono Trigger, but I just don't see it here. In addition, while characters will often talk about what they're feeling, their faces aren’t very emotive in most conversations, which contributes to the sort of dreary, boarding school atmosphere. This whole world could have benefitted from someone turning the attitude dial up three or four notches.Of course, every time I summon Bahamut from the sky to rain destruction on my foes, these concerns fade away, if only for a moment. Big dragon shoot shiny fireball good.



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Lycoris Recoil: Season 1 Review

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Lycoris Recoil is now streaming on Crunchyroll.

An old showbiz saying goes that “all you need for a movie is a girl and a gun.” Though maybe a little outdated in general, it holds true for the entertainment value found in Lycoris Recoil, a lovingly cinephilic, girls-with-guns action anime from director Shingo Adachi and writer Asaura, who came up with its original story. But there’s plenty more to love the show for, like its aforementioned movie obsession, from its opening credits Stand By Me homage to the George Méliès reference in its closing, to later discussions of the joys of the silver screen, even in the middle of a fight. That’s not to mention its warmer, more mundane moments and not least of all its playfulness with romance tropes in the coupling of various characters: there’s at least one “kabedon” wall slam. An atypical premise alongside engaging action make Lycoris Recoil a standout amidst the spring season (and one with loud support from Hideo Kojima).

With the premise set up in its first episode, Lycoris Recoil could have gotten away with a simple case-of-the-week format, as it establishes the routine of its main characters – the gunslinging teenage mercenaries known as Lycoris (after the spider-lily that also acts as their emblem). The girls, Chisato and Takina, run the LycoReco cafe and carry out fairly mundane favors for the clientele, alongside more violent contract work, running anti-terrorist ops with support of their mentor Mika and former intelligence officer Mizuki. Even as it pays deference to blockbuster classics (like the ‘80s and ‘90s action classics strewn across Chisato’s cluttered safehouse apartment), it would be inadequate to reduce Lycoris Recoil to any pair of references. It takes a sideways approach, making a nod to The Terminator as one of the more ludicrous moments of comedy of the season. It’s also evident in the action itself, of course, which takes immense satisfaction in brutal gunplay that stands in delightful contrast to the cozy slice-of-life vibe of the rest of the show, an element which it holds in almost equal interest.

The build-up of the first episode toward this premise is immensely satisfying, seen partially from the perspective of Takina as she is excommunicated from DA (“Direct Attack”), a secret organization of female assassins secretly eliminating criminals in service of maintaining Japan’s prosperous outward image. Ousted for taking some drastic measures in an operation gone wrong, Takina falls in with Chisato who, as a bubbly extrovert, is diametrically opposed in disposition to Takina’s aloof and perhaps robotic nature. Both are a couple of the most preternaturally gifted killers of all time. Only, after a moment of enlightenment, Chisato has given up killing, though she’s no pacifist: now she just favors non-lethal ammo and utilizes an uncanny, ludicrous, and very entertaining ability to actually dodge bullets.

Chisato’s fighting stretches suspension of disbelief, apparent from the very first time we see her in action, but the brawling is given believable weight through camera movement, swinging to emphasize her kicking a car door into an unsuspecting goon, as an emphatic slap bass soundtrack comes to life. The action direction is giddily entertaining, a mix of John Wick-esque grappling and gun-fu that its main characters enact with hilarious, almost trivial ease in its opening stages as they brutally but non-lethally dispatch their opponents. (This eventually comes back around as she admits that her non-lethal bullets probably hurt more than regular ones.) But Lycoris Recoil maintains the illusion of “realism” through a sense of tactility, even as laws of physics are flagrantly, gleefully broken. That’s in the impact of the aforementioned camerawork, as well as its intoxicating switch-ups between gunplay and close-quarters combat, impactful even when it’s only a training exercise as in the third episode’s engagement with the atmosphere of Takina’s former employers at DA, finding both amusing and disturbing surreality that high school-like cliques still exist in organizations of assassins. As impossible as it is for Chisato to duck gunfire like she’s playing dodgeball, it never feels inauthentic, only the more exciting to see it destabilize unwitting foes.

This, understandably, might make it seem like Lycoris Recoil has no tension underlying its action, and that much is true for much of the first few episodes; it’s mainly the safety of the clients at stake as Chisato remains entertainingly untouchable as well as unflappable. But a slippery foe in the form of an anarchist named Majima throws a compelling wrench in the works, proving just as tricky an opponent as Chisato as he sets out on an obsessive mission to unveil the facade of peace that DA has built atop piles of corpses, that then dovetails with an interest in Chisato’s uncanny abilities. The two work their way toward a compelling form of antagonism and mutual respect, their various duels reminding of John Woo’s heroic bloodshed clashes of ideology, questioning honor amongst thieves and upholders of the law while even finding common ground.

Even with its love of gunplay and the various action references, Lycoris Recoil also delights in the girls’ downtime, just as enjoyable to see their extended aquarium visits as it is to watch Chisato empty a clip into a goon that underestimated her. After being made to leave DA, Takina wrestles to find a sense of belonging outside of the job that she has always known, and one of the chief joys of the series is seeing the rest of the world being opened up to her by Chisato. The growing loyalty and affection between the two feels just as propulsive as the gunfights, and is just as beautifully rendered through detailed acting, gorgeous drawings, and gentle lighting.

Lycoris Recoil thrills with action as often as it charms with low-key character drama.

Less convincing is the deeper conspiracy at play throughout the season, tying in Chisato and Takina’s former masters at DA, their new mentor Mika, and mysterious benefactors at the vaguely defined Alan Institute. Some episodes feel revelatory, but the early reveal that a certain character is in line with a bad crowd undermines the tension, and some subsequent elaboration on their role in the conspiracy ends up feeling bereft of dramatic tension. That said, such plotting never obscures the sincere characterisation, and even improves it as it lands upon a more compelling complication to that conspiracy – that being Mika’s personal ties to Shinji, a former romance complicated by mutual cynicism despite their desire to be fathers to Chisato. Similarly, the pieces of the grander plot start to fall into place when it ties each organization’s movements into more personal stories, which begin to revolve around Chisato’s decision to never again take a life, and the stakes begin to feel a lot more real.

A midseason turn excitingly destabilizes the safety and security of Chisato’s practically superhuman skill as well as the destruction of the house of cards that DA has built. Lycoris Recoil handles so many different tones, often matching Chisato’s bubbly optimism and its cozy slice-of-life segments with bloodier, moodier material that it never feels unnatural when it funnels toward a practically apocalyptic showdown. For all its surreality, from the beginning DA is presented as an ominous surveillance state, a beacon of moral compromise that the LycoReco cafe seek to leave behind so to truly help people, rather than simply cull the bad ones. Chisato’s refusal of this compromise eventually comes to a head, and the show finds real heartache in her refusal to budge on this point. It’s an endgame that does well to weave its various story threads together, even if some felt a little slack in the show’s early stages.



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Smile Review

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Smile will hit theaters on Sept. 30, 2022.

“Smile though your heart is aching; smile even though it's breaking.” Those well-meaning words of comfort couldn’t sound more sinister once you’ve seen Smile, a supernatural psychological horror entry that, while it doesn’t reinvent the wheel, still manages to stoke tension every time anyone so much as smirks.

This ruthlessly effective, anxiety-inducing nightmare that tells the horrifying story of Dr. Rose Cotter (Sosie Bacon), a therapist who finds her whole world turned upside down as she begins to unravel beneath the stigma of mental health.Her newest patient is a young girl who witnessed the suicide of her college professor, and when their first session takes a bizarre, traumatic turn, it looks as though Cotter is now seeing the very hallucinations that her patient reported – a sinister smiling face that appears throughout their daily lives and haunts them with unsettling visions.

If the premise sounds familiar, that’s because it’s been done many, many times before. It’s easy to draw comparisons to It Follows, as well as The Ring and The Grudge. But where these movies seem to have inspired Smile, director Parker Finn uses our knowledge of their well-worn tropes to make something a little different.That’s not to say that Smile is a wholly original film – it isn’t. But it does veer off in an interesting new direction.

Finn establishes his creepy, off-kilter view of the world almost instantly with twisting camerawork that sets a disorienting tone. Sure, it’s not the most subtle of metaphors – at times, Cotter’s world is turned literally upside down with almost stomach-churning inverted landscape shots. But this neat trick that’s seemingly borrowed from the likes of Hereditary instantly puts us on edge and makes us much more empathetic to Cotter’s unraveling mental state as a result.

Equally, the jump scares start off as a simple means of keeping us on our toes, but slowly build toward something greater. They soon come thick and fast, with plenty of feigns and fake-outs to throw us off. And that’s when you begin to realize that the almost laughable frequency of these moments is doing something else entirely. It’s setting the unnerving stage with a creeping paranoia that keeps us wondering just what’s around every corner.

The scares themselves are quite tame by comparison, but that doesn’t matter.The whole point is to keep us tense throughout the entire film as you second-guess where the next jump scare is coming from… and the really fun part is that you’ll rarely get it right.

Finn absolutely nails the creeping dread of a mental health professional who knows she won’t be taken seriously.

These interesting little touches make Smile much more than a cheap scare. Instead, it revels in its ability to make you squirm. The very bloody and visceral nature of the deaths is offset by the weird, ethereal emptiness of its victims’ faces. Finn absolutely nails the creeping dread of a mental health professional who knows she won’t be taken seriously and explores the stigma of depression and anxiety as Cotter fights an uphill battle with those around her.

Sosie Bacon is an absolute thrill to watch as the ever-deteriorating Dr. Cotter, with an incredible performance that gets to the heart of mental health anxiety while grounding the sheer hysterics of being pursued by a supernatural entity. Jessie T. Usher, meanwhile, is all-too-believable as Trevor, Rose’s new boyfriend who thinks she’s going crazy. A brief appearance from Rob Morgan is brilliantly paced as he transforms from rational to utterly terrified in the blink of an eye.

On the surface, Smile’s premise is a simple one, but there’s a lot more weight to it than initially meets the eye. Sure, it only scratches the surface when it comes to exploring complex issues of mental health stigma. But Bacon wears the weariness of a well-meaning therapist in those early scenes… and as her own sanity begins to unravel, we experience the true horror of a woman who knows what all this means. An unnerving soundtrack from Cristobal Tapia de Veer helps keep us on the edge of our seats with unexpected turns that heighten our anxiety to almost unbearable levels.

Smile may borrow heavily from other horror films, but it certainly brings something unique to the table, and I’m not just talking about that creepy smile. Finn knows the expected horror tropes and uses them against us, building a crippling unease that heightens what would be fairly unambitious jump scares with skin-crawling efficiency. His interesting use of light and sound ratchets up tension throughout, while jump scares combined with smash cuts will leave you wondering what exactly just happened… in a good way. Throw in an impeccable central performance from Bacon and Smile gives us the creepy, horrifying tale of a woman coming undone in the face of supernatural horror.

And remember – Smile. What’s the use of crying?



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Session: Skate Sim Review

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Warning: Session is a hard game and will test your patience. Those aren’t my words; they’re the words of the developer, Creā-ture Studios itself, splashed verbatim on each of Session’s trick list menus. That’s a belated caveat for the presumably bewildered people mining the menus for shreds of advice on how to actually do anything in this diabolically difficult skateboarding sim. With a two-stick control system that flies in the face of generations of muscle memory, Session is a complex but very grounded simulation of street skating that can appear wonderfully authentic when executed well. However, despite the fact that it’s just emerged from several years of early access, it doesn’t quite appear fully ready for release: physics bugs, shonky trick detection, and unfriendly mission design are regular frustrations.

Since its debut demo back in late 2017, Session has been previously pegged by some as a spiritual successor to EA’s Skate series. To be honest, it’s not really a great comparison. Session’s stick-based trick controls may sound akin to Skate’s on paper, but the reality is Session’s two-stick system is far more complicated. In fact, the single-stick Skate-like “Legacy” controls Session introduced into its Early Access build back in 2020 have actually been entirely removed in the 1.0 version. Adapting to Session’s two-stick controls is now compulsory.

Bust a Move

Just like rival 2020 skateboarding sim Skater XL, in Session each thumbstick represents a skater’s corresponding foot, and executing flip tricks and grinds requires precisely finessing each stick like you’re trying to crack into a safe. Turning controls are mapped to the triggers, a mind-melting obstacle that took hours for me to hurdle after decades of that being a job for the left stick – and only compounded by the fact that turning is still mapped to the left stick in Session… when the skater is off the board. Unfortunately there aren’t any grab controls, but even without them I was regularly turning my hands into pretzels trying to make tricks.

This isn’t a bad thing per se; it’s just very challenging. However, the complexity does feel likely to be too much for some, such is the steepness of the learning curve here. I’m not confident that a lot of non-skaters or casual skateboarding fans would stick it out to crash through that initial barrier, though Session doesn’t necessarily do itself any favours in that regard. There’s actually a pretty long list of smart gameplay tuning options that can make things noticeably more manageable, but the initial tutorial doesn’t really point any of that out. The most helpful one for me was the option to change the mapping of the sticks from left foot/right foot to front foot/back foot – purists may scoff at this concession, but all the controls being in reverse when riding switch was absolutely cooking my brain. But there are many, many more – pop height, grind alignment, hell, even the gravity can be adjusted. None of this truly turns Session into an arcade skating game, but it can make it a little more friendly.

That said, it is very rewarding – in its own stern way. I’ve once again found myself swept up in the loop of an unforgiving street skating simulation (unfortunately there’s no proper vert skating or grabs) simply because I love to seek out unassuming staircases, ramps, and rails and bust tricks (and presumably digital bones) for no particular reason, until I get bored and move somewhere else.

It should also be said that the list of other places to move is impressively long, with dozens of authentic urban maps and spots of varying sizes spread across three cities: New York, San Francisco, and Philadelphia. With time of day effects and plenty of grimy, granular detail, the maps look excellent – especially at night, lit by the bright lamp of the chase camera. They are a little static and lifeless, though. For instance, piles of lightweight cardboard boxes and wheeled shopping carts are rooted to the ground and completely non-interactive, and there are no moving vehicles despite being set in the hearts of three of the most bustling cities in the US. Also, while NPC pedestrians can be turned on – an “experimental” option Creā-ture has partially buried in a menu for unfinished features – there are no NPC skaters to add a bit of atmosphere.

Trick Tok

Creā-ture has put plenty of work into Session’s replay editor, and it can produce genuinely great clips. There’s an impressive assortment of camera types and filters available to create some properly cool skate videos with Session’s tools, although it really makes zero effort to teach you how to use them.

Unlike Skater XL, Session boasts an actual career mode, with tasks assigned by guest pro skaters scattered throughout the maps. Despite the fact most of the enjoyment I gleaned from Session’s skateboarding sandbox came from simply coasting around the maps and making my own fun, there is something to be said about having some overt objectives to conquer, especially since there’s no multiplayer. These objectives are not always particularly well explained, though, and instructions can’t be repeated if you miss something. This makes for some really annoying moments if you miss a tip, or forget it after returning later, because the mission log text doesn’t explain any extra criteria. It also has an annoying habit of sometimes not crediting the tricks it wants us to complete, even if it appears we’ve pulled them off. One early challenge to manual across a pad refused to detect the required manual despite multiple attempts. It adds a second layer of trial and error on top of an experience that is entirely built on trial and error, and it isn’t welcome. Turning on the trick names is a slight help (Session has trick names off by default) but it doesn’t solve everything.

This is actually part of a whole layer of weird bugs that undermine Session overall, from sudden and inexplicable bails on flat surfaces to ugly board clipping, and janky on-foot navigation (especially ascending and descending stairs) to seriously odd moments of limb spaghettification, like your skater is about to be sucked through a black hole. These are a real shame considering some of the awesome attention to detail elsewhere. For instance, I really love how the boards themselves slowly accumulate realistic wear and tear as we thrash them with grinds, and the sound design is genuinely excellent. There’s a wealth of subtly different audio cues for every situation, and everything from the hiss of free-spinning wheels to the clunk of steel on steel sounds spot-on. The soundtrack is a bit downtempo and dreary, though; Creā-ture has pitched Session as a tribute to the golden era of ’90s skateboarding but there’s nothing about the fistfuls of 21st century chillhop here that helps makes it sound like one.



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