July

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Ricky Whittle

S D O G N A C I R E M A F O , S E I R THE STAR A D N U O B G N I H S N O C I TALKS PU M O C Z O & E K O A CAST KAR

OzComicCon snuck up on me this year, the first event that is held in Melbourne in the beginning of winter herald’s the beginning of Con season (and the dreaded con flu! If any of you were hit like I was this year you are feeling my pain right now!) This year OZCC bought the goods by bringing us some of TV’s biggest stars with British hunk (sorry there is just no other way to properly describe him) Ricky Whittle star of American Gods. Whittle is prepping for season 3 of the hit show on Amazon Prime and has taken some time out to chat about his career and what he loves about Australia that keeps him coming back.

complete with bacon, eggs, beans, toast the lot. “Everyone

in the USA thinks I’m this American guy, you can’t get good food like this over there.” He comments as I welcome

him to Melbourne for the first time. “I’ve been everywhere except Melbourne. Sydney quite a few times, Adelaide, Perth, Gold Coast and Brisbane but this is my first time here.” Certainly keeping the best for last we talked abou the first two seasons of American Gods and how they were not only breaking new ground with storytelling and cultural themes around sexuality and religion.

It is Ricky’s first time in Melbourne and he loved Before we dived into the tough stuff I was cubeing treated to a proper stodgy breakfast rious to know about the cast dynamic and if

if they were friendly in real life after all the mixed animosity on the show. “We do! We have a crazy, crazy and very inappropriate group chat that if it ever leaked would cause chaos.” The sly smily as he announces this is hard to not ask more about the contents, but I digress. “We

are a family as cliche as it is to say, we all like to hang out and do karaoke.

You haven’t lived until you have done karaoke with the cast of American Gods, Emily Browning raps. It will change your life!” While I wait for my invitation

human depth and emotion to it which is why I love this show. My character in particular has no chill, he is this pent up, unstable quiet person and sometimes I just want to break free and crack some jokes and smile.”

The third season of the show will see Whittle’s character Shadow Moon head to a small town and hopefully develop more human emotions that could allow for some more human traits to come out which he is open to “Totally, I would love that, but it would have to be fitting with the environment and Neil (Gaiman) would have to be 100% on board for me to be ok with it as well.” A new show runner for the third season has been announced with Chic Eglee from The Shield, Walking Dead and Hemlock Grove.

in the mail (seriously Ricky I will be waiting for that invite!) we dive into what makes this While we eagerly await season 3 (and hopefully a season 4 announcement!) we show so special and memorable. can happily binge through season 1 and 2 “It’s sad that we have to be the first to feature of American Gods currently streaming on a same sex relationship on screen, and not Amazon Prime in Australia. Oh and if you just same sex, it’s same sex, muslim guys were wondering what is Whittle’s karaoke

and that has never been done on screen song of choice, I have the answer “AC/ before which is such a crazy thing to think that we are the first” Whittle says with pure DC all the way! I get my Axel conviction. “The amazing thing about this Rose on, it goes deep. real show is that it reaches beyond race, beyond religion, beyond sexuality and while the deep man!” characters are insane, it really has some

Ricky Whittle was in Australia for OzComicCon.

The King returns July 19

Review by Seth Eelen After winning the Palme d’Or in Cannes, the French Oscars let’s say, Sydney Film Festival was quick to reel in that line and get Parasite to screen at multiple sold out venues around the city. At the end of the festival, the film got awarded the biggest price (Best Film) and distributor Madman Entertainment decided to ride that wave of interest in the film, releasing this Korean dark comedic masterpiece just a week later in Australian cinemas.

Ki-woo (Choi Woo-sick) is a young man with not much to look forward to. He basically lives in a basement apartment with his scruffy dad Ki-taek (Song Kang-ho), snappy mother Chung-sook (Hyae Jin Chang) and his clever sister Ki-jung (Park So-dam). Their

tiny confined home feels too small to live in with four adults. They use free wi-fi from their neighbours and try to make some easy money by folding boxes for a pizza delivery company, until Ki-woo’s friend offers him to take over a student to tutor Faking a university diploma and a shameless backstory, Kiwoo introduces himself to a rich family in a dream house with the most well-maintained lawn you’ve ever seen. Here he becomes the tutor to Da-hye (Ziso Jung), daughter of wealthy CEO Mr. Park (Lee Sun-kyun) and his emotionally unstable wife Yeon-kyo (Jo Yeo-jeong). Everything seems to go just as planned, until the almost perfectly executed plan starts to unravel more and more out of control.

Scriptwriters Bong Joon-ho (who also directed) Parasite is a mite that doesn’t discriminate and and Han Jin-won have so many twists up their will get under every moviegoer’s skin, no matter sleeves to make this the most entertaining and what background you come from. The power of well-written film you’ll see this year. Every line this story is found in the way comedy and drama gets delivered so smoothly, as if it seems like rub each other in just the right way to spark a bit these characters are real people who are living of thriller, that flips over into pure horror when through this story, with Jung Jae-il’s classical despair and hate meet each other. This is one score, masterfully playing in the background. The infestation you can’t get rid off. cinematography by Hong Kyung-pyo differentiates itself from a more realistic gritty style in the basement apartment, to a more dreamlike perfectly slick style when focusing on our wealthy characters. This point of view makes us look at these two very contrasting groups of people in a different way, to make it even clearer that they don’t belong in the same world. Class systems have never looked more down to earth yet perfect before.

Though Bong wants you to feel for both parties, the lines will blur at certain points and make your sympathy for anyone bounce back and forth with feverish consequences. Everyone has a sense of selfishness to them when it comes to goals but being nice doesn’t take that much effort.

The film focuses on poverty, desperation and what we are willing to do to take what should be ours. Tension between upper-class elegance and underground threat has never been more in your face. Bong (Okja) always loves to blur the lines of genre and he makes sure he hits every step on the staircase, to succeed in his efforts.

PIXAR PERFECT.

The announcement of a fourth Toy Story chapter felt like an easy cash grab for Disney after the huge success that was the concluding Toy Story 3. After watching the first trailer and synopsis, I still wasn’t sure if this was gonna work. So being a bit cautious of seeing these beloved characters coming back nine years after we said goodbye to Andy, I can say – no need to be afraid. The toys are dusted off and look better than ever!

WORDS BY SETH EELEN The film opens with a flashback to a rainy night where our toys are still happily living with Andy. Woody (voiced

by Tom Hanks) and Bo Peep (Annie Potts) are getting ready to rescue RCracer – a radio-controlled toy car – that’s been stuck in a gutter and is about to be dragged into the sewers, if not saved in time. This is an exciting opening to get you right into the story and remind you of the bond these toys have with each other. “No toy gets left behind“, like Woody says multiple times throughout

this franchise. This scene also shows how close Woody and Bo’s relationship just was, which gets torn apart moments later when the lamp that houses her and her sheep is given away.

her backpack to look after the nervous girl.

In class, a selfish kid grabs Bonnie’s art supplies and drops some in a bin, where Woody jumps in to save some of it – along with bits of rubbish – which leads to Bonnie creating Forky (soon discovered to be a toy, Almost a decade later, after Andy has passed voiced by Tony Hale), a spork with popsiclehis beloved toys to young Bonnie, we see stick feet, googly eyes and pipe-cleaner her playing with all of them, although Woody arms. The family has a new member. gets pushed aside more often as time passes. He gets left in the closet with some Bonnie adores Forky, but having an existential of her baby toys. But when Bonnie has to crisis, this spork knows it’s trash and feels attend her orientation day for kindergarten, like his only destination is the trash can, his Woody sees an opportunity to sneak into safe haven. Woody, so longing for a purpose,

takes it upon himself to keep rescuing and returning Forky, which will only get harder when Bonnie and her parents embark on a road trip in an RV. A journey on which we will meet carnival toys (Ducky and Bunny – voiced by Keegan-Michael Key and Jordan Peele), a Canadian stunt-motocross action figure (Keanu Reeves as Duke Caboom – the coolest and most breathtaking toy ever created) and a manipulative vintage doll (Christina Hendricks as Gabby Gabby) who’s stuck living in an antique store, ready to do whatever’s needed to live a blissful life.

The emotions run high, with stunning animation and imagery all around. New characters that will win over your heart and make you laugh out loud with the funniest one liners. Did I really expect anything less, after three exceptionally strong films in this franchise?! Shame on me.

Toy Story 4 is an adventure full of subtle messages and metaphors, that carries on the legacy of its original trilogy. Disney/ Pixar has done it again – a sequel that not only works as an ending, but also as a new beginning. When we get to chapter 5 (because let’s be real, this is gonna kill it at the worldwide box office), these characters will have seen so much more than just the walls of Andy/Bonnie’s room and have experienced what “letting go” really means.

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Finding someone who didn’t know Elton John or at least know one of his songs would almost be impossible. He holds the record for the biggest selling single of all time for Candle In The Wind. And while most people will know the big stories of his life, he’s gay yet married a woman for one example, there is so much that lead to man he is today. So much so few would have any idea about. And Rocketman is the story that tells that part of his life in the form of a musical.

When you think stories, biographies or movies based on the life of a celebrity, you have a very methodical approach. Take for example Bohemian Rhapsody. The introduction to the character, the backstory to the music and the rise and fall on their path to greatness. These kinds of movies are generally made once the celebrity has passed away. Rocketman tells the story of the early life of Elton John and his rise to stardom. Elton is very much still alive which shows just how much courage it would take to tell his story. But also gave him more control over what information is shared about his current lifestyle.

MOVIES / TV

Where Rocketman differs from other movies based on the life of a celebrity, it is not a tell-tale traditional story. Rocketman is a musical. It’s clever and fitting to show the life of one of the world’s greatest musicians in the one way his life was, a musical. With such a back catalogue and heartfelt music, the songs are used to continue telling the story. There isn’t a making of the song, the song is the moment.

story how he ended up in rehab and the story playing out itself. Sitting in a circle where Elton declares he’s an alcoholic, drug addict and sex addict he goes back to the very start and some of his earliest memories to set the scene.

Elton had a very troubled upbringing when his father who was rarely home didn’t show Elton any affection. His mother is no better and blames his father for all the things wrong Set to the style of Rose telling her story in in their lives. The one stable thing in his life Titanic, Rocketman slips back and forward is his Grandma who tends to be holding between Elton (Taron Egerton) telling his everyone together if only by a thread.

/ GAMES / MORE

When his music teacher says he is worthy of joining the Royal Academy of Music, Elton is accepted without fail and starts to build on his unique ability to hear and play without sheet music. And from here Elton’s life tends to fast track.

Teaming up with lyricist Bernie Taupin (Jamie Bell) the two started to build a name for themselves gaining traction in the USA. Selling out shows and gaining a strong fan base the two managed to live a lavish lifestyle. Until the drugs, the alcohol and the many sexual partners of Elton became too much for Bernie to witness.

Elton couldn’t go on stage unless he had a cocktail of drugs and alcohol to blur his struggles with who he truly is. Until eventually he takes himself to rehab.

Taron Egerton (Kingsmen: The Secret Service, Robin Hood, Sing) absolutely smashes his impersonation of Elton John. Not only can Egerton sing worthy of a chart hitting song, Egerton has a range very similar to a young Elton John. But while the singing is a large part of the film, Egerton really got to flex his acting skills and channel in some of Elton’s characteristics. Small details like the way Elton smiles. Elton tends to have a tight upper lip

MOVIES / TV / GAMES / MORE

Bringing Elton’s life to the screen is by the vision of Director Dexter Fletcher. While it’s not a name you would recognise as a Director, Fletcher has had a long career in film and television. Rocketman is Fletchers fourth entry as a Director but also his second working with Egerton (Eddie the Eagle).

Fletcher managed to turn what could have easily been a “story in the life of” style film.

But instead he turned Elton’s music into moments that told the story. Bringing in a whimsical musical style worthy of the stage and a perfect amount of dramatic licence, Fletcher created something different to show the life of someone truly out of this world.

As if destined to be, the whimsical Rocketman is the life of a great musical. It delves into a much darker and deeper side of a young Elton John maybe only few knew about. It manages to balance a musical with a dramatic film and does it with humour and sass, exactly how you would imagine Elton himself. If you aren’t singing along you will most easily be captivated by the visual splendour before you.

Stream the stellar soundtrack on Spotify & Apple Music now

WORDS BY SETH EELEN

J.R.R.

Tolkien‘s

biopic

can best be described as a modest period drama. Tolkien’s estate has objected to the making of this film, from the start, in fear of smudging the well known author’s name and legacy.

If only the film would be somewhat entertaining, but no, Dome Karukoski‘s film is anything but that.

This pacified look at the storyteller’s academic life stays very close to the facts, where we get a look into our titular character’s fascination with ancient and fictional languages. Stephen Beresford and David Gleeson‘s screenplay could’ve focused a bit more on Tolkien’s forbidden romance with Edith Mary Bratt (a waste of Lily Collins‘ talent), because this storyline felt rather thin.

If Tolkien was a bit more romance and a lot less talking, maybe it wouldn’t be this boring. The Lord of the Rings books (later films) are well known and anything but soulless. Watching a portrayal of the man’s early life and how he came to the idea of writing his biggest work “The Hobbit“, sounds more exciting that it actually looks like. The film is also very safe, an aimless journey with a fellowship who have the uncontrollable urge to talk literature. The only thing I can applaud it for is its attempt at showing us the etymology of Tolkien’s work.

Nicholas Hoult first shows up on screen as a soldier wandering in the trenches as if it was Middle-Earth, and recalls his past through flashbacks while imaginary dragons and Orcs pass him by. We then witness his entire challenging childhood: from Tolkien (played as a younger version by Harry Gilby) and his little brother getting placed under care of Father Francis Morgan (Colm Meaney) after their mother dies, to seeing him earn a spot the fancy King Edward’s School, where he gets bullied by a group of boys who eventually become his closest friends.

day and don’t back out because it looks hard or ethically incorrect. Several situations turn out more challenging, but just like shouting the word “Shazam!” can turn anyone into a superhero, Helheimr can turn every chicken into a daredevil. Backed up by Thomas Newman‘s score, the Lord of the Rings trilogy is never far away and sometimes feels too closely inspired by Howard Shore‘s score.

Careful there Newman, many others have dipped their toes in other people’s waters with consequences..

We get to see boys sipping tea while creating daydreams, but these somewhat compelling characters (all due to the promising acting skills of Patrick Gibson, Anthony Boyle and Tom Glynn-Carney) seem wasted in the end when all three of them grow up and thus recast by an older cast. The script also tries so hard to make Collins’ and Hoult’s characters connect romantically, but watching the clumsy conversations take place, is just too painful to look at.

To me, Hoult feels miscast and that’s a pity.

The leading cast can’t seem to catch a break with failing box office results and critical abominations (X-Men: Dark Phoenix having been released in Australia just a week prior to this, is not helping Hoult’s career..), so I really wish for them to try something completely different. Hoult and Collins are brilliant actors who know how to deliver their lines, but don’t look challenged and mostly bored.

The road of these group of friends leads eventually to creating their own fellowship and constant reminder of Helheimr‘s spirit, which becomes some sort of code to seize the

Tolkien tries so hard to convince us how talented the writer himself was, but the Lord of the Rings trilogy already showed us that. And that’s something no one will ever underestimate. Undoubtedly a film that didn’t have a purpose or destination.

BACK IN BLACK.

The tried and tested outline

for the Men In Black movies hasn’t changed for the fourth instalment, Men In Black: International. If you can cast your memories back to the original Will Smith entries to the Men In Black franchise it was full of fun, the aliens were new and quirky and there was a little bit of action along the way. Rather than continue to change it up for Men In Black 1, 2 or 3 they were rather the same. And that’s exactly what you will find with Men In Black: International, the same.

After spending the most part of her life knowing the Men In Black existed but unable to find them, Molly (Tessa Thompson) was wasting her days in a call centre. But by chance, Molly intercepted an incoming spacecraft and followed the MIB to their secret location.

Pleading to let the MIB allow her to work for them, Molly becomes Agent M and is given her first assignment. Working alongside Agent H (Chris Hemsworth) the two set off on an adventure around the world investigating alien attacks.

WORDS BY JASON COOK But to add to the Agent’s investigation there’s also a mole within the UK branch along with the Agents being followed. After the two work together they quickly come to realise what they are up against is a lot bigger than they bargained for.

The storyline doesn’t bring anything new or exciting. It’s not much different than what has come to be expected from the previous Men In Black films. But that isn’t to say the film is by any means boring. It’s 1 hour and 54 minutes makes it a short but sweet film.

Where the film lacks is in its attempt to bring more aliens to the screen or when they are onscreen be a little more creative. The most clever alien conception was the beard of a man being a separate creature.

The part that makes Men In Black: International work is the wonderful chemistry between Tessa Thompson and Chris Hemsworth. The two have already had a history on the screen together when they worked on Thor: Ragnarok. The two seemed to bounce off of each other and

seemed to bounce off of each other and of MIB. Hemsworth doesn’t bring anything play up to the comedy throughout. new to his performance from what has come to be known from his work as Thor.

Tessa Thompson (Westworld, Dear White He does, however, have a humorous scene People, Creed) who plays Molly or Agent involving a hammer.

M seems to have a bit of fun with this role.

She kicks ass and while there isn’t a great Overall Men In Black: International doesn’t deal of emotional attachment required bring anything new or exciting to the from her, she manages to tell a thousand franchise. The intergalactic shenanigans stories with one look within one of the final continue with the new wave of Men In scenes.

Black. It doesn’t, however, leave you wishing you’d watched something else.

Chris Hemsworth (Thor, Bad Times and the With a lovely on screen matching between El Royal, Home and Away) is Agent H and Thompson and Hemsworth the film is a plays up to the bad boy of the UK branch bit of easy to watch sci-fi fun.

END OF AN ERA. WORDS BY ALAISDAIR LEITH

It’s time to say goodbye to our favourite mutants, after 19

to be a forgetful throwaway film with great performances with a mediocre story that suffers from horrible pacing issues that years of films the franchise is coming to a make it feel like 2 or 3 different films smashed close with a re-telling of the Dark Phoenix into one 100 minute disappointment. story. If this sounds familiar it is because they attempted to do this in 2006’s X-men: It is set a couple of years after Apocalypse The Last Stand and while it didn’t go down with the X-men in generous public favour to well with fans, Fox have given the story with action figures, screaming fans and line a movie of its own to send the X-men off a hotline phone direct to the President ready to be rebooted by Disney somewhere of the United States. When a spaceship in the future. What should have been a launch goes awry the X-Men head into fond and memorable farewell turned out space to assist when Jean Grey (Sophie

Turner) is exposed to a cosmic power that enhances her mutant powers making her more powerful than anyone else on the planet. When Jean starts acting erratic her X-Men friends Raven (Jennifer Lawrence) Beast (Nicholas Hoult) jump in to try and help her control the power, however things don’t go according to plan and when Jean is confronted by a mysterious alien played

by Jessica Chastain who is trying to take over Earth and eradicate humans Jean must decide if she will use her power for good or evil.

Elsewhere Professor Xavier (James McAvoy) is riding high on the fame of their recent relationship with humans. He is shown revelling in the joy of being on talk shows, hosting benefits with wealthy clientele, on the cover of books and action figures. A good portion of the story explores his history with Jean and how he found her after the accident as a child. The first half of the film explores the relationship of and what can happen when trauma is suppressed rather than dealt with.

It really explores the idea well and loops in the other characters, particularly Raven and Beast, who are the last of the” First class” still hanging around the X mansion. Showcasing a different side to Xavier was a risky move, I don’t know if this trait is ever explored in the comics, here it does feel a little surprising in keeping with this character. That being said showing a more human side to Charles was interesting to watch.

Perhaps the best part of the film is Lawrence, her performance as Raven is flawless. She is constantly the voice of reason, in particular one fitting line “The women around here are constantly saving everyone else, we should be called the X-Women” which on a side note did get a cheer from the crowd in our session.

If this wasn’t enough character drama, Magneto (Michael Fassbender) is sought out

by Jean after she feels betrayed by Charles.

He is running a commune separated from the rest of society. He is joined by hair braid whip man and another mutant who can read and control minds. When they feel the weight of what Jean can do through a helicopter battle, Magneto rejects her as well causing Beast to join his side in an attempt to kill Jean for her recent decisions.

It’s really from here that things go downhill.

The film moves at a sluggish pace with sprinklings of action pieces littered through them. If it wasn’t for the solid performances it would be a complete wash. This then changes gear again in the third act with an epic train battle and final showdown that struggles to be as epic as the final scene in the final X-Men movie should be. The train sequence is far too long and while some of the CGI looks incredible, others look like a direct to VHS movie from the 90’s (Storm).

Most X-Men films are epic in scale and have weighty action that coincide with the story.

Here the story is told with an odd pacing that doesn’t ignite to be either good or bad, it just falls kind of flat. The train wreck scene really feels like it is a different film and with the epic battle being wrapped up pretty quickly, it rarely lingers long enough to leave a memorable impression.

The visuals in this film are great, the Phoenix effects that run through Jean and encompass her are beautiful to watch (and may just remind you of another recent Marvel superhero). The train scene while being shown at night is nothing short of spectacular. The way that Magneto rips the train apart trying to destroy the aliens is a lot of fun to watch and every mutant gets their moment to shine.

It is a fast and furious fight scene with great cinematography by Mauro Fiore set against the night country side. In a lot of blockbuster movies night action scenes can be blurry and hard to see, fortunately this film avoids that delivering dazzling action sequences that effortlessly float between inside and out of the train.

While the special effects are spectacular, the script is severely lacking. In fact, I would even go so far as to say if they have spent more time on the this than the special effects it would have been a much better film. The first half of the film has a solid story exploring themes of trauma, abandonment, fame and family. It is balanced quite well for this portion of the film and is actually intriguing to see how it all wraps up. Where it falls is the obvious re shot second half of the movie that kind of throws these out the window for spectacle.

X-men : Dark Phoenix had the potential to be a big farewell to these characters we have loved (and hated) for the last 19 years.

Regrettably a good story was compromised for spectacle and the film suffers from poor pacing and a generally flat tone. Fortunately the actors deliver solid performances, in particular Lawrence and Turner steal the show here showcasing the boundaries of family and fame. Fans of the series may be disappointed by the lacklustre finale (particularly if compared to the 90’s TV series plot line of Dark Phoenix).

A FITTING END TO THE MARVEL-NETFLIX EXPERIMENT.

WORDS BY ALAISDAIR LEITH

The final season of the final show in the Marvel TV Universe is here. After what has

been a heartbreaking few months after the cancellation of the Netflix / Marvel TV universe the time has come to say goodbye with the release of the third season of Jessica Jones. After the terrifying Kilgrave in Season 1 and the heartbreaking Alisa in season 2, season 3 turns it into a moral dilemma with Gregory Sallinger (Jeremy Bobb) turning all serial killer, taking out people and super’s who don’t fulfill their potential. Sallinger has no powers and while how he is able to consistently murder poeple, including superhero’s may be a little baffling, things kick up a gear when Trish/ Hellcat powers from last season kick into gear, forcing her to make a decision into what side she is on and what she stands for. It is refreshing to see Jessica Jones take a swing back to actual detective work this season delivering less hero action antics and a couple of whodunnit murder mysterys that create the perfect ending not only this show but for the connected Marvel TV universe.

The season revolves around three main story arcs with Jessica and Sallinger playing a game of cat and mouse, Trish becoming Hellcat and discovering who she is as a hero or villain and revealing more about her troubled past and upbringing and a portion of the show rotating around Jeri (Carrie-Anne Moss) who’s increasing difficulties with ALS are taking a toll. She has recruited Malcom (Eka Darville) as a junior associate as he is trying to seek redemption from his past and turn himself into a successful businessman. The absolutely joy of this series is their ability to juggle all of these arcs without overstuffing it or rushing them. Each arc that eventually intervweaves with each other does so spectacularly and never outstays its welcome.

Jessica and Trish’s relationship is extremely rocky with the aftermath of Trish shooting Jessica’s mum at the end of last season.

Jessica has found solace with a new superhero hunk Erik (Benjamin Walker) who is semi-psychic and similarly as screwed up as Jessica was when we met her in season 1. By allowing the first couple of episodes to breathe with no Trish drama, the investigation into Sallinger and her comradery with Erik draws the show back to its detective roots.

Before it feels too much like an episode of NCIS : Special Superhero Unit, Trish explores how she is dealing with becoming Hellcat an balancing her high profile celebrity life (albeit selling clothes on a shopping network) Things take a turn with Jeri takes on Sallinger as a client and seemingly turns against powered heroes publically denying her allegiance to Jessica Jones and Danny Rand.

The increased recklessness of Hellcat throws Malcolm’s allegiances into question and the season and show finish with somewhat surprising consequences closing out what feels like a three story arc that could easily

be revived with a time jump in the future (looking at you Hulu or Disney +!)

Part of what makes this show work is the incredible cast. Kristen Ritter owns this character, her perfect blend of snark and heart is always on display without ever leaning too much in either direction. Ritter has truly made the character her own and while it was difficult for the character to thrive with The Defenders, Jessica Jones delivered the perfect superhero show for adults in the Marvel universe. Rachael Taylor has also done an incredible job developing characters for Trish, Patsy and Hellcat, all of whom have very different temperaments.

Taylor brings an intense fierceness to Trish that allows for her to unleash when she switches into Hellcat. Playing a celebrity with the facade of Patsy is the ultimate showcase for Taylor to play a complex and

endearing character who must struggle through a delicate balancing act. Moss has nailed her character since her introduction of season 1 of Jones. Constantly never showing her cards or acting inferior to the superheroes that surround her. This season allows us to get a further glimpse into her life and her mortality as her ALS intensifies and you can see the physical toll it is taking. It is not a big leap for Jeri to be angry at superheroes with healing powers and immortality as she believes the work she does is on the same level.

As always there is a couple of episodes of breathing room this season, with the middle 2 episodes feeling like extreme filler and offering a subplot that felt easily dismissed.

Had they chosen to shave it down to 10 episodes it would not have been a bad thing for the sake of the story. Don’t get me wrong,

they aren’t bad episodes, they just don’t offer anything of significance to the wide story arc and feel inserted to slow things down and let the audience breathe for a minute. Much like the other Marvel TV series, it would be a much tighter and succinct story without these elements.

Jessica Jones delivers a thrilling and satisfying conclusion not only to the show itself but also to the wider TV Marvel universe. By rounding out the story arcs for all the characters and showing just how far Jessica has developed since the show first started. By confronting the demons of her past and accepting the pain she carries around as a result of this, we have seen Jones become slightly more positive, if not more accepting of herself and who and what she is. That alone has made the journey worth while.

POSSESS THEM ALL After 6 films in the horror Warrenverse what was expected to be an end for the Annabelle series comes as a spectacular send off to the spin off focused around the doll while opening up a ton of new potential evil things for many movies and years to come. ACH combines great performances from new and familiar faces with a familiar 90s esque horror feel that once it gets going, delivers the most fun the Warrenverse has dared to give us yet. Set after the events of the first Conjuring film with Ed and Lorraine Warren (Patrick Wilson & Vera Farmiga) are on their way home with the doll Annabelle when they discover that she is a beacon for other spirits. After locking her in a glass case to contain the evil, Ed and Lorraine decide to take a trip leaving their tweenage daughter behind with two teenage babysitters in a haunted house of horrors when Annabelle is unleashed and activates the horrors inside the house.

The film follows the Warrens daughter Judy (McKenna Grace) and her babysitter Mary Ellen (Madison Iseman) as they are prepping for Judy’s birthday party. When Mary Ellen’s friend Daniella (Katie Sarife) crashes the party to investigate the Warren’s room full of horrors. When her curiosity gets the best of her she “accidentally” touches everything and Annabelle and a ton of other spirits and demons chase the three girls down attempting once again to give one of their souls to the demon that possesses Annabelle.

This time around there is a lot more humour than any other previous Conjuring film.

Director Gary Dauberman is no stranger to horror after having written The Nun, Annabelle, Annabelle Creation, IT and now writing and directing Annabelle Comes Home. He manages to find a blend of comedy, heart and horror that doesn’t make too much use of the Warrens and focuses on the insanity of unleashing pandora’s box but can cleverly pull it all back when needed to bring the right tone to the scene without feeling jarring.

These films have a rich history of doing similar jump scares, bringing in deep bass in the audio while panning away to cut back to a change in the scene. Usually this is followed by someone screaming and running, fortunately Dauberman knows that these characters are seasoned in the occult, they know what to do to be safe and how to stop it all.

It is one of the first horror films that doesn’t have completely clueless characters running around trying to survive. When these characters run up the stairs, they are equipped with a crucifix, they can’t escape outside because the spirits madness are also in a fog encompassing the house both front and

back. It’s a refreshing change to a tired trope, particularly as this one does really herald back to a 90’s style film with the babysitter premise mixed with haunted house.

The film spends a lot of time setting things up, and not just the usual 20 minute setup before the scares, it takes a good near hour before all hell breaks loose. The good news is that it allows the characters to shine and the audience to connect with them. Even though this series is not known for any horror kills, you really do care about the three main girls and don’t want to see anything happen to them. The love interest character of Bob (Michael Cimino) has one of the funniest nicknames and is trying to pluck up the courage to ask Mary Ellen out on a date. While Bob has minimal screen time, Cimino does manage to get the most out of the material he is given and deliver a memorable performance.

Annabelle Comes Home feels like the final film centred around the now infamous doll. The story throws everything at the wall with a heap of other characters and evil spirits that could be sit to litter our cinema screens for years to come. The performances are outstanding from the entire cast with characters old and new all bringing their A game to this film. While the story is great it does drag a little bit in the first half, setting the characters and scares up to let the audience down before turning up the scares into overdrive at the end of the film. If this is the final farewell to Annabelle, it was a wild ride that should hopefully usher in a whole new set of horror films and spin offs around other characters. Rather than trying to live up to the original Conjuring film, Dauberman creates a lighter blend incorporating humour, horror and heart. After what has been an incredibly disappointing blockbuster season at the movies this year, Annabelle Comes Home is here to bring some sweet relief.

Review by Alaisdair Leith

Ah reboots, the quickly becoming staple of modern cinema. While most drag under the weight of inferiority to their predecessors, there are some that can take previously well adapted material and update it to a modern audience with just enough of a twist to create interest and re-ignite the property. While the stories of this have been more miss than hit, there is a rare movie that tries something new and succeeds. While I have seen all 7 movies previously throughout the years, I am by no means a die hard fan who demanded vengeance after seeing the first trailer for this film. Child’s Play 2019 combines a talented cast with an interesting technology based premise combined with a comedy horror blend that successfully catapults Chucky into the digital millenial era The story revolves around single mother Karen (Aubrey Plaza) and her son

Andy (Gabriel Bateman) who are struggling to put their lives back together with a fresh move to a new city. Karen works at the local department store and when she finds a discarded wifi Furby type doll, she brings it home to Andy as an early birthday present. Andy is a little weird and socially awkward not easily making friends with other kids his age. The doll’s name is Buddi and connects to the smart house and cloud. Buddi can control the lights, locks, sound, cameras as well as play fun games with Andy. Buddi comes a little defective and pronounces his name to be Chucky. A defective doll whose violence and language inhibitors have been turned off by a disgruntled factory worker. When Chucky and Andy form a bond, Chucky will go to any length to keep Andy all to himself and kill anyone who tries to take him away.

The story is fairly solid, centering around smart technology is a genius move. It helps it feel relevant and brings a fresh feeling to the series.

While it does follow similar beats to the original, having the central child a little older as a young teenager does allow for more play room with mature content and for some further character development. Taking away the supernatural posession element of the story did help it feel scarily real at times, particularly when reflected on how much we rely on our tech to assist us in our daily lives.

Getting child actors to give you a good performance is often a challenging task, fortunately this is something that this film absolutely nails.

There is a realness with the three main teenagers that solidifies their bond and they deliver some great comedic and scared performances. The same can be said about Plaza who is absolutely at home in this movie. She still has her trademark snide and sneer, but there is a softness to her playing a mother in this movie that gives us a deeper look into her profile as an actress. She can deliver the comedy goods which we already know while switching it up to be terrified and screaming and a doting mother who loves and cares about her son. Supporting players are Brian Tyree Henry who plays Detective Mike Norris, a hilarious and doting carer who looks after his mother. Tim Matheson is in a few appearances as head of the tech company Kaslan. While his scenes are fleeting, he really sells it as a Steve Jobs/Tim Cook style tycoon. To round it all out

Mark Hamill as the voice of Chucky is casting perfection. He brings a blend of friend and evil crazy that easily switches at the drop of a hat. It is the perfect casting for this role and one of the biggest reasons the movie works so well. The movie embraces its own ridiculousness as the kills and story get more convoluted and crazy. By doing this it elevates the film to that comedic/ horror blend that stops it from being over the top and just enough to be wildly entertaining. The addition of making Andy deaf and dependent on a hearing aid allows for Chucky to communicate effectively with Andy and be less laughable than the original with the whisper and repeat beat.

When it comes to the violence and horror, it is more gore than scares. There are a couple of jump scares to be expected in a movie like this but instead of relying on just this there are copius amounts of blood spilled and body parts shattered throughout the film. They were never so bad that you have to look away as they are still laced with that comedic element to stop making it feel believable.

When Chucky connects to the cloud and can control driverless cars and drones armed with blades is when things really get interesting. They lean into the smart home thing just enough to be scary but don’t overly rely on it which could have been easy to do.

Chucky can communicate directly to Andy via his hearing aid allowing for the audience to be part of their banter.

Child’s Play is the perfect example of a remake, it brings new and fresh ideas to the table with a new story that updates it for a brand new audience and time. By assembling an incredibly talented cast and giving them room to shine by flexing their comedic and horror based setting it does bring the best of the two together. Plaza and Henry are the clear stand outs with incredible chemistry and are well supported by the younger cast. Chucky himself looks terrifying and the switch from good to evil is a lot of fun to watch. Don’t go into this expecting a serious horror flick, they embrace the camp and fun aspects and roll with it resulting in an extremely enjoyable romp.

Review by Alaisdair Leith

What if a global power outage caused you to get hit by a bus in the dark, and you wake up discovering there’s no sign of anything The Beatles have ever accomplished?

There was a time when Danny Boyle was a director who’s projects were considered edgy and each one of them had their own style. What if just like in Yesterday, he all of a sudden forgot about his previous work and decided to work with screenwriter Richard Curtis (Love, Actually) to make the most dull film we’ve ever seen of him? Well, that scenario doesn’t seem too crazy.. “Yesterday” stars Himesh Patel (Eastenders) and the usually very energetic Lily James (Mam-

ma Mia: Here We Go Again) to play a struggling singer-songwriter and his manager/ love interest – yet Patel’s character is completely clueless to the moves she makes.

Jack Malik (Patel) is ready to give up his dying career as a wannabe singer, when he gets knocked down by a bus in the middle of a global electricity outage. He wakes up in the hospital and soon finds out nobody has ever heard of the legendary band The Beatles (as well as some other brands/objects, which is clearly a perfect opportunity for the filmmakers to incorporate plenty of product placement.. Michael Bay would be proud.).

When Jack sees an opportunity to make bank, he knows just the way how to get people’s attention by writing down the lyrics of every song The Beatles have ever released – at least the ones he can remember. He claims to be the sole writer of these songs and after appearing on a morning show on local television, he gets discovered by Ed Sheeran and invited to accompany him on his upcoming world tour as the singer’s opening act. When Sheeran’s crazed agent Hannah (Kate McKinnon) approaches the rising superstar to sign him to her label, he has no idea where this rapidly progressing voyage will take him.

Not only will he discover how fame can blind you from what’s right in front of you, he will also learn the true meaning of the phrase “the grass isn’t always greener on the other side”. Girl-next-door Elly (James) was his rock from day one. Seeing her being pushed aside by his own greediness makes him realise what he’s really been missing in life: love. The film is supposed to be a very British romantic comedy with a highly original concept that leans towards fantasy, but its narrative is so “all over the place” that it feels like the end of the second act is the end of

the film.

Yesterday could’ve been the sweet antidote in a world filled with sequels and blockbusters, but nothing is more unsatisfying than to see a well-accomplished director as Boyle screw it all up. The direction is all over the place with inter-titles and unbelievable scenes that won’t fly in the world we live in right now. It is too realistic to be set in a fantasy world and the film never pulls you in completely. Even the funny one liners and McKinnon’s delightful comedic punches as a stereotypical Hollywood agent, can’t save how ordinary “Yesterday” feels. And if you’re really here for the music, I have to disappoint you. The few music montages are not even worth the admission, since most of the performances get cut short. Just let it be.

Review by Seth Eelen.

Listen to Jay’s Review Click here

Seth dives into Netflix’s next revival series With tv-shows progressing into more inclusive territory (which we applaud, duh), there’s still a bit of work to do. Over a decade ago, we had gay shows such as Queer as Folk and The L Word, which focused on the gay community. It seems like we haven’t really gotten a show that is able to tell more nuanced gay stories balanced with its straight counterpart. Tales of the City is here to change that.

Armistead Maupin’s Tales of the City, picks up 20 years after its last mini-series and knows how to keep you intrigued. The previous instalments caused a lot of controversy when it aired on television back then, Netflix doesn’t seem to

shy away from it and knows how to handle its progressiveness.

The 10-episode counting limited series begins with our optimistic female lead Mary Ann Singleton (Laura Linney) returning to 28 Barbary Lane, after living in Connecticut for the past 20 years. Now hosting infomercials for a ripoff snuggie, she’s clearly given up on her dreams of becoming a world renowned journalist. She’s returning to celebrate her mysterious former landlady, Anna Madrigal’s (Olympia Dukakis) 90th birthday. Once there some old and new faces welcome her, but not everyone is as happy to see her.

Two of those unhappy individuals are the challenges of their age difference and ex-husband Brian (Paul Gross) and esseemingly threatening ex-partners; Margot tranged daughter Shawna (Ellen Page), (May Hong) and Jake (Garcia) have trouble whom she left a long time ago, to pursue adjusting to Jake’s newfound desires after her career. Shawna acting all tough when transitioning; and over the top millennial first meeting her long lost mother, later jokes that involve too much Instagram from shares a joint with her on top of the roof and the twins (played by Christopher Larkin sarcastically laughs at Mary Ann when con- and Ashley Park) that live on Barbary Lane. fronting her with the fact she left her daugh- Creator Lauren Morelli (Orange is the New ter behind. But is that really what happened? Black) and executive producer Alan Poul (Six Feet Under) found a way to honour the spirit The main emotional driving point this sea- of the original series and start this revival/ son, is that question and the fact no one sequel so that new audiences can still folwho raised Shawna, ever told her the truth. low what exactly goes on. Having never Aside from that compelling storyline, these seen a single episode of the original mini-semain characters still have their own stories ries, I had no trouble understanding the to tell. But the real shocker is one that instory. It’s not easy to show something that volves Anna’s sudden decision to sell Bar- connects with everyone in some way, withbary Lane, after receiving cryptic letters and out excluding genders and/or sexualities, strange individuals coming over for a visit. but they were also able to do it in a way that It’s up to Shawna and Mary Ann to solve the educates without coming across preachy. mystery and fight for their home and mutual love – Barbary Lane.

Her team of all queer writers and directors should be applauded for their outstanding Besides the compelling main characters, work. Not only does it show how much we also meet some interesting friends that thought they’ve put into this, the range of join the fun. Michael Tolliver (Murray Bart- perspectives splashes from the screen. lett) and his younger boyfriend Ben (Charlie There’s different episodes that are recognisBarnett) deal with Michael’s positive status, able and will make you think. It’s all about showing your true colours and not shying away from who you really are. Times have changed and Tales of the City has evolved for a new era of fans.

Tales of the City shows us just how important it is to live one’s truth, choosing our own family and how we connect with one another, while celebrating queer culture and exploring multiple generations of LGBTQ+ people.

It’s been a long time since the last season of Queer Eye and while the third season was definitely the least strong of the series so far, season 4 is here with a brand new set of heroes ready to make you ugly cry as the Fab 5 deliver a solid season of laughs, emotions and transformations.

This time around the Fab 5 stay local, honing in on the Kansas area. This time around we meet a real blend of colourful characters including a farmer who has never had a gay person in his house before, a war vet turned tradie who hasn’t finished the reno on his own house and by far one of the best episodes going to Jonathan’s high school to make over one of his old and influential teachers. This season moves really quickly with some continually great moments that showcase just

how much these guys have grown into their roles and continually push to improve and make it all about the hero and their journey rather than their O.T.T personalities. In particular this season really belongs to Jonathon, witnessing his overwhelming positivity can be somewhat exhausting to watch in previous seasons. This time around he showcases a vulnerable side opening up about his past and the hard times he had growing up. We have seen this from the other guys in the group in previous seasons, but there is something so vulnerable and honest about Jonathan’s arc this season that comes to a full swell when he goes to his old high school.

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The editing on this show is sharp and stronger this season. The colour and contrast of farmland and Kansas city contrast beautifully. There is an episode in which the Fab 5 help a Latino woman find her place in the community and showcasing their work around their base makes it feel even more personal as they bring their heroes into their loft for makeovers and cooking lessons.

This show was such a risk, it could have gone horribly wrong. The previous show felt like it was perpetuating a stereotype about gay men, and this show has completely destroyed all that and proved to be this huge beacon for positivity and inclusivity that is rare on the small screen (or big screen for that matter!)

Queer Eye season 5 is your perfect weekend binge with plenty of tissues, chocolate and hot tea to get you through. You can binge your way through 8 new episodes on July 19.

Recap by Alaisdair Leith

Score: 6/10

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KART RACING | LACK LUSTRE LEVELS APPOINTMENT

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” Team Sonic Racing is a pale imatation of previous Sonic racing games. The budget approach has rendered this a complete failure on every level” Sumo Digital have delivered the first Sonic racing game since 2012’s Sonic & Sega All Stars Racing Transformed. This time they have ditched the Sega all stars and just focused on the blue hedgehog and a myriad of characters who have appeared in the franchise over the years. After the initial excitedment of the game announcement, they confirmed pricing at $50 AU placing it in the “budget” title and after a couple of delays, my concern for this game grew stronger. Turns out these fears were correct, everything about this game feels cheap and slapped together. The online multiplayer has more tumbleweeds than

Fallout 76 and the sketchy delays from visual to sound are painfully obvious. This all combined with tracks that looks and feel the same and noticeable frame rate dips deliver a disappointing release that should have been a rival to Crash Team Racing, now will just fall by the wayside and hopefully allow the studio to make a Sonic & Sega All Stars follow up game.

The game features a story mode that allows you unlock different areas with different themed The cut scenes are unfortunately just backtracks. These vary from desert, space, casino, grounds with scolling text and irritating narration lagoon and other memorable Sonic areas. The (particularly from Big Cat!) and is worth just skipproblem is they all feel the same. The tracks are ping your way through. Graphically the game does look good, the smooth and detailed vehicles do cookie cutter with a different skin and can be incredibly frustrating particularly when playing keep everything glossy and shiny, however this in long bursts. Apart from the usual racing, there doesn’t distract from the basic approach that has been applied to this game. I was looking forward is a droid mode in which you have to destroy as many droids as possible on the track, a time to playing this for weeks even months and now after less than a week I am ready to move on. trial, ghost racing and drift tests with check Younger games may find some joy here until points. All of this we have played before and regrettably nothing new is offered up in this title. Crash Team Racing comes out, regrettably the game is a massive disappointment. The little blue the character selection happens as you progress through the main mode unlocking different guy deserves much better than this. teams. As you play more you earn credits which Review by Alaisdair Leith allow you to unlock mod pods to customise your vehicle.

A huge part of these games is the items you use to take out opponents during the race. Mario Kart has arguably the best items including the dreaded blue shell. Here the items are lacklustre at best, there are rockets, cubes that provide a blocking mechanism and a boost. That’s really it. There aren’t any more variety and this is a massive let down for a game of this genre. Just a few more different variety of items or a blue shell equivelant could have been a great addition to give the game a bit more longjevity.

Score: 9/10 RACING

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Kart racing fun RETRO REMAKE

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HAVING SO MUCH CRASH BACK The second of the Crash Bandicoot “from the ground up” remakes has finally been released and after the smashing success of the N’Sane trilogy, Crash Team Racing Nitro Fueled is the complete edition remade from the original game release on Playstation. This remaster features all the tracks from the original game with a special retro track if you purchase the PS4 version. All the HD remake characters are here from the recent N’Sane trilogy and look spectacular in this version. Combining a few different games modes with adventure,

single races, crystal quests and online play which all combine to deliver a solid karting experience. After the disappointing Team Sonic Racing, it is great to have a challenging experience that allows time for players to get to know the controls of the game and find the sweet spot for each character to start strong and win the race. There are plenty of tracks to explore and skins and accessories to unlock to satisfy the collectors out there. The score and sound effects are true to the original with enough of an update to make it sound beautiful in Dolby

IS DEFINITELY A GOOD THING! Atmos systems. Crash Team Racing is the absolute cherry on top of the previous Crash HD remake that cements the reason for these to exist.

When starting the game you go immediately into Adventure Mode, you play as Crash Bandicoot, riding around Insanity Beach unlocking each track as you place first in the race. When you have unlocked all four tracks and came first in each you then unlock the first boss race (in this case Ripper Roo). This allows you to unlock the

next area to complete the adventure mode and unlock a ton of content. It also serves as a kind of one player campaign mode guiding you through each track of the mode. The tracks vary from and inspired by many areas of the Crash series. There are many varying locations including underwater tubes, mechanical factories and jungle forest locations. All of these are beautifully detailed and feature the mystery boxes that give you items that help wipe out or slow down other players. The items vary from rolling bombs, to Nitro and TNT boxes

to a ball of electricity that sweeps through the track wiping out everyone it touches (personal favourite!) and the valuable Uka Uka giving you invincibility for a small amount of time while increasing the speed of your kart. The game allows you to switch between characters and difficulty after each race to help alleviate players getting frustrating with some of the more challenging races. Some characters excel in different track types as opposed to others and this can be frustrating at the best of times forcing many replays of the same track. While fast food gamers may not enjoy this in a kart racing game, it really is part of what helps the longjevity and

challenge of it. There is still a save screen pad you can drive up to in each home area for a manual load or save. Fortunately the game does this for you automatically after each race, but it is a nice nostalgic touch for those who want to recapture the glory days.

Learning how to control the kart can be challenging, particulary the drift and boost mode which requires some getting used to. Once you have this down pat, it becomes easier to engage with and while a little frustrating at the best of times when you just want to engage that boost, having it as something that has to be earned is what makes this game

feel so rewarding when you get it right. When the race starts you really do have to find the sweet spot to get the boosted start that really does help you get ahead of the rest in the early stages of a difficult track.

Graphically the game is absolutely gorgeous. There are so many beautiful details in each character and kart that look incredible in HD. There are many skins and vehicle mods to unlock including Musketeer Pura and Fisherman Polar, the two most adorable things on the planet. The attention to detail in this game is astounding, in the backgrounds of each level there is so much going on. You can see evil sharks swimming around in the underwater tube levels, lions chasing chickens in others and other background characters from previous Crash games that just add that extra level of detail and love. Overall Crash Team Racing is the ultimate karting game, it offers enough of a challenge to be taken seriously by gamers but can still be played casually for those just wanting a single race or online challenge. The online lobbies are full of players in every type of race and the lag time in online play is minimal. Each track and character has been lovingly recreated to HD perfection for current gen consoles. The many added tracks and modes will keep collector gamers happy with many hours of content. Having so much Crash Bandicoot back in our lives is only a good thing, let’s hope for Crash Bash next!

Rescue HQ – The Tycoon is a city simulation game developed by Stillalive Studios and published by Aerosoft GMBH. The game released exclusively on Steam on May 28, 2019. It’s a game where you need to run the operations of a Rescue Headquarters that contains up to three emergency departments. You will manage the fire brigade, police and ambulance service so that you can maintain the health and safety of the citizens within your city. It plays similar to Two Point Hospital, only in this game you have the other departments to worry about as well. There are two different game scenarios to play in – Berlin and San Francisco and you have the freedom to design the HQ how you want to best suit your needs at the time. My first game was in the Berlin tutorial scenario and started with some basic rooms and personnel for a fire

department. The mayor of the city gives you instructions and guides you through the first assets that you require. You then must hire, train and manage your personnel, build workshops and utility rooms for training equipment, eating and sleeping facilities and garages. Garages house the various rescue vehicles you’ll need, and once a job is completed, paperwork needs to be completed and filed. To keep up with demand, you need to hire more staff for both the day and night shifts. You must ensure both rosters are sufficient to handle any emergencies that arise in your city 24/7.

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Emergencies can be things like fires, cats caught in trees, robberies, police escorts, arrests, all the way up to terrorist attacks, and occasionally you will have a big event in your city that will likely cause varying types

emergencies. The emergencies user interface lists the requirements for the type of emergency. My first one was a local business reporting smoke coming from their building. The requirements to assist are five firefighters, four air tanks and a water tank. Each fire truck has a water tank, and you start with plenty of firefighters. An issue here is that you have to click all five firefighters, then click a vehicle and then click to add four air tanks. Later on when you’re dealing with grade 2 and 3 emergencies, there’s a hell of a lot of clicking required, all while the game is still progressing in the background. It would be great to have a ‘fill all’ button or something like that, providing you have the resources available.

As you send out your rescue personnel, they will earn experience but also get fatigued. You will balance levelling up your personnel with allowing them to rest, but also getting them training skills and producing resources such as air tanks, medicine, etc. Police and fire vehicles have specific purposes such as patrol cars and SWAT units, fire engines with extendable ladders and bigger water tanks, as well as different types of ambulances. Police personnel can be trained to use sniper rifles, tracker dogs and bomb defusal kits. Your medical staff can be trained to use equipment such as radiology

stations, crash carts and 3D printers. You’ll want to be prepared for any situation that might arise.

The first major incident i had to prepare for was a mafia boss was facing a trial in a weeks time.

I needed to have a police cruiser and access to SWAT gear, as well as enough police officers to handle the task. At the time i had no police department in my rescue HQ. The tutorial was telling me to build police items, but I first had to earn enough reputation completing fire emergencies. This then unlocked the police department and equipment.

I hurriedly built enough rooms to house the new police personnel and give them their living quarters and a garage for the first police car. I had just enough personnel and SWAT gear to attempt the task with 86% success rate, however I failed the task.

When you fail a job, you don’t gain reputation and you don’t get paid. This will eventually slow down and/or halt your progression and growth. In this case, disasters will come and go, seemingly without recourse however you eventually won’t be able to pay your bills and go into default. Too long in default and you’ll lose the game, having to start a new rescue hq. At the end of each week you are given a finance report. I made a huge loss after my first week and I was given the option to take some grant funds from the city. You can receive up to five grants, but ultimately if you go bankrupt then it’s game over.

Overall I gave the game a 7.5/10. Rescue HQ – The Tycoon is a great simulation game that looks simple but quickly turns into a complex resource and emergency management game that is addictive and fun to play. There are two scenarios available at release – Berlin and San Francisco, which provides some good variety in both visuals and emergency scenarios and equipment to deal with. Rescue HQ – The Tycoon is available now on Steam for AUD35.64 until June 5, when it goes up to AUD39.60.

GAME ON AUS

Score: 7/10 | 8 GAMES IN 1 | ACTION PLATFORMERS | RETRO Devolver Digital are known for publishing some amazing games such as the newly released My Friend Pedro (keep an eye out for Nicco’s review very soon!), Katana Zero, Scum and many others. They are also known for their way out there E3 conferences and not taking themselves too seriously. As such, at this year’s E3 ‘Devolver Digital Big Fancy Press Conference’, they announced they were releasing Devolver Bootleg, a collection of eight rip-offs of their own games and it was available to play straight away via Steam.

To help sweeten the deal, they offered a massive 1% discount for a limited time!

And no, that’s not a typo – 1%! Here’s the announcement video. Upon loading the game, I was instantly awarded two steam achievements. Then I got two more as I navigated the game’s 8-bit DOS-like menu.

YAAAASS! I love my cheevs! I think the developers had a few giggles setting these up … well played Devolver. The eight 8-bit games are all play-on-names of their previously released titles such as Enter the Gungeon, Hotline Miami and Luftrausers. I

MOVIES / TV / GAMES / COMICS

GAME ON AUS The retro music and use of the keyboard took of the four doors that then open, as you progme back to the old DOS gaming days as I start- ress into rooms with obstacles and harder bad ed to give the games a bash. It took me a few guys. frustrating minutes in the first couple of games Cat Game/Catsylvania (based on Gato Roboto) to figure out the controls.

“It’s a cat inside of a suit of armor. It’s a cat…In Noob alert #1 for Inferno – the keys are the full plate armor. What else do you want?” same for every game (arrow keys to move and then Z and X to jump/shoot depending on the This was a cool side-scrolling game where game). you’re a cat in a suit of armour – very puss-inNoob alert #2 for Inferno – the settings menu boots-ey. You can collect a spare set of armour can be navigated to the right which shows but when you get hit the armour falls off. Then these key controls. you’re a sword-wielding cat! You also get ninja There, you won’t feel like a complete noob when stars to throw. you try to play these games like I did. Here’s a rundown of each game. I have included Devolv- Eght games in 8-bit glory, all in one collective er’s descriptions of each from their Steam page Devolver Bootleg package. As I was playing as some are hilarious, then a quick note on the each game, it did remind me of playing old DOS gameplay. games as a teenager in those pre-internet days where you’d call up your mates to tell them Enter the Gun Dungeon (based on Enter the about this cool game you’ve discovered. I also Gungeon) liked the humour in these games, not taking “Imagine a dungeon crawler but instead of themselves too seriously and therefore you swords it’s guns. But also everything is made played them with that mindset. out of guns and bullets and stuff. Like, everything.”

Overall, I gave this package a 7/10. The Devolver Bootleg collection is a great set of 8 games This was the first game I tried and as per my that are fun and take the mickey out of their noob alerts above, it took me a few deaths to originals. Devolver are known for great games, learn the controls. Once I got the hang of it, the as well as for not taking themselves too serigameplay was simple. Clear the room of bad ously, and this collection reflects that mindset. guys using the clunky controls, go through one It’s great for retro enthusiasts looking for some quick fun but if you haven’t experienced, or can’t handle the oldschool sounds and graphics, it may not be for you.

This review utilised a Steam key provided by the publisher. The game is available now on Steam with a huge 1% discount at AUD$7.42 until 10 July where it bumps back up to AUD$7.50 Review by Chris Inglis

MOVIES / TV / GAMES / COMICS

RAZER KRAKEN X HEADSET “The Razer Kraken X is an affordable entry-level headset for gamers. The sound quality is decent for consoles, with PC’s gaining access to full 7.1 surround sound and the bendable microphone arm holds its position well.”

The latest addition to Razer’s line-up of headsets dropped in early June with the Razer Kraken X. As advertised on the box, the Razer Kraken X is “the ultra-light headset for non-stop gaming” and can be used for both PC and consoles. ‘Ultra-light’ and

‘non-stop gaming’ sing to me, so I was excited to give them a run for their money. And by money, I mean a very modest AUD$89.99 from the Razer store. The Razer Kraken X is a very sleek and lightweight headset with minimal but essential features that gamers want. At 250g and utilising a simple black design with the Razer snake logo on the earpieces, these are not bulky like some other more expensive headsets. There is also a console-only version of the Kraken X featuring blue highlights on the headband and inside the

AFFORDABLE ENTRY-LEVEL HEADSET earpieces. It features an adjustable headband slider with numbered markings both sides, indented eyewear channels and oval ear cups. This is the first time I’ve seen a headset with eyewear channels and what a great feature. I don’t wear glasses myself but know plenty that do, and they would love not having their glasses wedged into their heads like their other headsets.

The earpieces and headband feature plush memory foam cushions. I’m used to having fabric material on other headsets, so I

did find the earpieces on the Kraken X got warm after wearing them for a while. I am using this headset in winter so I imagine these could get too warm for me in summer. They are comfortable to wear during my gaming sessions lasting 2-3 hours, but the earpieces are slightly too small for my ears. I don’t have huge ears, but other headsets fit my ears better. Otherwise the Kraken X does sit well on my head and I can feel the grip on my ears. Also moving my head around in fast movements was no issue for them staying on my head,

and I can feel the grip on my ears. Also moving my head around in fast movements was no issue for them staying on my head, whereas my other headsets would have fallen off.

The left earpiece is where all the action is with a volume control, a microphone mute button a bendable cardioid microphone and the wired connector featuring a 3.5mm jack. This will plug straight into an Xbox or PS4 controller, however it also comes with a splitter for PC’s with separate headphone and microphone connections.

The volume control was very responsive though it doesn’t change your system volume in Windows like other headsets, so I found I had to remember to drop the volume when I finished

my gaming sessions. Otherwise I would find out the hard way that I had the volume extra loud the night before. Also, when the volume is set too loud, the sound transmits over the open microphone when chatting to mates in-game or on discord. I had to drop the sound enough, so it wasn’t giving feedback.

Featuring custom-tuned 40mm drivers in the earpieces, using the headset with a console will give good quality sounds for gaming. However, the 7.1 surround sound feature is limited to PCs, and only with additional Razer software. Once this was set up it will utilise the full 7.1 surround set up. When I performed the surround test, I noticed the rear left and right sounds were much

lands 2 where I couldn’t hear sounds behind me near as well as all other directions. Sound quality was decent for a headset, though not as good as some I’ve used. When playing music, they did sound a little tinny depending on the song and the bass was not as deep as other headsets, but at the price of AUD$89.99 this is to be expected. In-game on the PC, gunshots, explosions and general game sounds were terrific and other player voices were crystal clear.

The microphone arm is very bendable and holds its position in front of your mouth better than others I’ve tried. I wonder though if it would hold its position as well in 6-12 months’ time. However, it can’t be tucked away in the up position when not required, at least without spending time bending it to the shape of the earpiece. If I just brushed the arm up with my left hand, it’d still be in my peripheral vision, whereas other headset microphones tuck into the headset. When I did have it stored upwards, I had to remember that it wasn’t muted automatically. There’s no light on the microphone indicating whether it’s muted or not, so you must feel the back of the earpiece whether the button is depressed (muted) or pressed. A few times I would start a gaming session and be chatting away to my mates, only to be told they couldn’t hear me. ne feature of the microphone that I was excited to test was the area of coverage the microphone captures. It is advertised to focus on your voice input and supress background noise from the side and rear of the microphone. I have a very loud mechanical keyboard and a noisy hum from fans in my PC case, which is on the floor next to my desk. I was interested to see how this microphone dealt with these. Unfortunately, it captured pretty much everything happening in my gaming room. I had to heavily adjust my discord, in-game settings and add multiple filters to lessen the effects of everything other than my voice, with little success. This was the only major disappointment with an otherwise great headset.

Overall, I gave this headset a 7.5/10. The Razer Kraken X is a very affordable entry-level headset for gamers. The sound quality is decent for consoles, with PC’s gaining access to full 7.1 surround sound and the bendable microphone arm holds its position well. Unfortunately, the microphone picks up everything in the room despite being advertised to focus on your voice, and the lack of a visual mute indicator meant constant checking of the mute button.

This review utilised a Razer Kraken X headset provided for review purposes.

Score: 9/10 | MAYHEM

OPEN WORLD | ZOMBIE | PLAYSTATION YEAH

Waking up on an island to find the powers of an ancient sword bestowed upon me to use against an evil witch felt a little familiar. It wasn’t right on the nose but it already felt like it contained striking similarities to another popular video game.

But as I played on I found that The Swords of Ditto: Mormo’s Curse contains characteristics that make it stand out instead of feeling too much like a link to another franchise.

The Swords of Ditto might sound familiar by name. That’s because this indie title developed by Onebitbeyond and published

by Devolver Digital was originally released back in 2017. Mormo’s Curse however expands on the original while slightly tweaking its gameplay.

As this was my first Swords of Ditto experience, I was unbeknownst to what would truly lie ahead of me. The evil witch Mormo has returned to the land of Ditto once again as she does every 100 years. Being blessed with the powers of the almighty sword, you’re given the task of ridding

Mormo and the dark evils she’s spread across the island. This does come with some preparation though. I may have the sword but against Mormo it’s pretty weak to begin with.

With sword in hand I set off on my adventure through this cute colourful world and instantly fell in love. The audio and visuals were one of the main standouts of my experience. Swords of Ditto feels like something straight out of Cartoon Network with its similar 2D animation aesthetic. Evil may have been lurking but it succeeded in putting me in a happy place at the same time. Characters,objects and environments interact with each other almost seamlessly making it flow like a single animated piece. However without sounding entitled I did constantly come across longer than expected waiting times when moving between areas and rooms.

As petty as it sounds I only found this to be an issue since the other half of the load times were almost instant.

As previously stated a lot had already felt

From high damage output to stun abilities, mixing these into combat made some encounters not only easier but more fun. Reviewing the game on Nintendo Switch, I was very satisfied with the fluidity of switching equipped toys and using health items mid fight.

As I sliced, stomped and slammed my way through enemies, my sword slowly became more powerful. This wouldn’t just help to fight Mormo, but also everything in between.

Ditto is an open playing field with almost no barriers but areas do come with set difficulties. With that said, it became almost a cake walk once I figured out how to efficiently take them down.

Ditto is also filled with many caves to explore that mostly act as mini-dungeons. These are useful for for finding loot and gaining an added boost to your sword level. Unfortunately they’re nothing too memorable. They do also include puzzle solving elements but its a lot that we’ve already seen in the past.

Once my sword reached Mormo’s difficulty level, which didn’t take very long, I made a bee-line for her castle. I came, I saw, I was defeated. My progress, the items I’d collected, all of it was lost. Falling to the fight against Mormo adds on another 100 years of darkness over Ditto and takes you back to the beginning as a new character. Swords of Ditto may look like your typical adventure RPG title but

it’s actually a rogue-like hybrid and fits in well with the storyline.

This lead to spending more time making sure I was fully prepared for my next Mormo encounter. After collecting more Toys and better Stickers, which is the in-game term for gear, it only took a couple more respawns to defeat Mormo for good. The events that follow are very different to those in the original release of Swords of Ditto due to poor reception from players. New less punishing endgame content replaces the original post Mormo events and permadeath mechanics. However you’re essentially doing the same thing all over again but with a solid chunk of difficulty included, kind of like a New Game+. Without spoiling too much, it adds a heart racing mechanic from a game I’ve previously reviewed.

This time around you only lose some loot at death instead of all progress. If the difficulty becomes too much you don’t have to to go it alone. 2 player co-op allows a friend to join in on the adventure.

The Swords of Ditto: Mormo’s Curse isn’t the longest rogue-like game I’ve played but it’s definitely different from those I’ve experienced in the past. The cute innocent world is so easy to fall in love with and is perfect for gamers of any age.

My Friend Pedro is a weird game, and not just in the sense that it’s story is a bizarre romp through a physical manifestation of the internet. Or that the gas mask wearing psychopath main character has a talking banana for a companion. Rather, Devolver Digital’s latest indie darling, by one man developer DeadToast Entertainment had me confused at just how… ok it was. Not poorly made in the slightest, but certainly nothing close to the bombastically memorable experience I was hyped up for after watching its trailers for the past year.

I personally love games of this ilk, like another of Devolver’s indie action titles in Hotline Miami. The mixture of fast paced action based on repetition and pinpoint inputs to achieve high scores, with a unique grimy aesthetic and driving soundtrack made me want to keep coming back until I had mastered it.

So whether misguided or not, it’s fair to say I came into My Friend Pedro with the same kind of hype and came away after 2 hours having completed the game and finding that I certainly had an enjoyable time, but also confident that I was done with it. And for a game of that length, it’s hard to not consider that a failure. Unlike games like the Hitman franchise, which also hinges its playlength on incentivising the player to go back and master its sandbox levels, there just didn’t feel like much of a reason to replay MFP outside of the already stacked leaderboards.

HEAD-

Speaking of points, there are none to be require forethought and setup, requiring the taken away for the game’s slick presentation player to stop and think, which hampers and the mechanics of its movement. The their ability to score big. For instance, those level design has a sort of diorama like story- who followed the game’s marketing would book aesthetic, with plenty of bright colours be excited to jump in and try the exciting fryand copious blood splatter and gore. The ing pan ricochet and skateboard kick kills for excellent soundtrack is varied and thump- themselves. However apart from a couple ing gunshots help contribute to a satisfying of other environmental kills these are really gameplay loop that pushes the player for- the extent of the unique ways to dispatch ward in their search of more wanton vioenemies in the game, and you’ll find them lence. The level design, though simplistic, repeated several times to the point where layers various environmental hazards on top they feel less special than they should. of one another in a well paced way so that Other movement mechanics, such as bullet the player finds themselves naturally react- time, table flipping, wall jumps and split aim ing to new threats whilst drawing on knowl- certainly take up the slack and add a lot of edge of past levels. variance and skill to the combat though. owever, the presentation of MFP can grind against the philosophy behind the game and Add to this the puzzle based nature of the this is to its detriment in some respects. levels, with cycling hazards that can require This is at its heart a score attack game. The the player to time their jumps precisely, and levels are split up into bite sized segments you may find yourself with some frustrating with points dolled out on a rank based sys- barriers to true speedrunning glory. Whilst tem, and bonuses assigned primarily for fun to decipher the first time, the simplistic maintaining the highest combos. This is nature of these puzzles again reiterates the clearly meant to push the player to practice lack of replay value in the game. This could until they can blaze through the stages at be said about most platforming shoot em an exciting pace, chaining together kills in ups, but My Friend Pedro especially would search of those leaderboard positions. How- really benefit from a level editor. ever, many of the games flashiest moves To reiterate, if this writeup seems harsh, it’s not because My Friend Pedro is a bad game at all. Rather, after a year of pouring over exciting trailers I was ready for a true successor to something like Hotline Miami series and came away, entertained to be sure, but also disappointed that there wasn’t more done to capitalise on a promising premise.

It’s a couple of hours of fun, more if you find yourself enthralled enough to shoot for the leaderboards, but perhaps it would be wise for prospective buyers to check out its 2014 flash inspired demake before purchasing.