“Space movies of the era (and still today) put the pressure against humanity. Don’t go; we will die. Asteroids, rogue planets, aliens. Anything out there exists inevitably to kill us down here. But First Men in the Moon puts us out there for the taking – nothing from space has any interest in us other than as a mere curiosity. When those beings find out what we are, how feeble we act toward our own, only then do these thinking creatures wish us harm. We’re not a valuable or interesting species to this race of Selenites. We are their immediate threat. The usual invasion parable is thus reversed, a thoughtful inclusion for such an otherwise light feature. It’s not scintillating material, but it remains interesting.”
“It’s actually bland, safe in the way high dollar corporately produced entertainment often is – no overt symbolism lest they appear to stand for something, even though EA has released a video game about American police with the title Battlefield. They have given police the same weapons as their military series and swerve from the obvious societal irony. Subversiveness is lost for the sake of the awkwardly commercial.”
“This feeds back into a horror fable about rogue viruses so exhausted and stretched it should have been taken out of service sometime around 1998. The virus must have infected the shark which would have jumped over the series. It would be more interesting at this junction if the STARS team returned to the original mansion to play a live version of Clue. (It was Barry with the candlestick.)”
“All of our emotions are infallible and purposeful, it says, while simultaneously applying our own instincts against us in a wildly interesting narrative twist. But, instead of offering the full breadth of these potential philosophies, Interstellar shrinks us down to simple beings, wrapping itself up with commonplace sentimentality rather than those progressive ideas which spawned this story about Earth’s slow downfall. All the while, the film dizzies with black holes, wormholes, visual time, and theories. It’s a whiz-bang scientific showcase willing to bewilder those not paying attention without satisfaction in the pay off.”
“Its landscapes are breathtaking, its use of light evocative. The animation has an exotic touch, and the resulting motion is consistently emotive. Somehow, this is for naught. A pretty background, with exquisite brush strokes and alluring colors, is lifeless if no one sees it – a painting worthy to hang in the halls of a museum, but in a corner without illumination and located where few ever go.
Ori is difficult, needlessly so. There are many who would play Ori, or would want to rather, but they would become dejected. This is what is unfair, not only the difficulty itself. Nothing would be better than an Ori reachable by all; if only the experience was almost the same as Disney masterworks being approachable by all ages putting a disc in a machine or clicking a button on the internet.”
Read my full review or Ori and the Blind Forest at GameSkinny
“If it wasn’t clear what Katniss’ greater role is, Catching Fire will ensure it via a gaudy, Christ-like euphemism for life, death, and rebirth before it’s over. It’s ludicrous. However, getting there is splendid even if a touch superficial. With her team formed, Katniss battles a troop of baboons, runs from floods, and dodges tidal waves, anything to create a more passive, less violent scenario, better to sell her displeasure for what – in this world anyway – is seen as necessary murder.”
“Revealing a checklist of colors at a time when they were individually counted in hardware specifications, Fantasy Zone is tirelessly cheery. It may as well act as décor in a nursery. The cuteness is decidedly persuasive to its cause.
Fantasy Zone borrows the formula of Defender and makes it less immediate, even gentle. Played to the perky and lyrical rhythms of first generation J-Pop composed by Hiroshi Kawaguchi, Fantasy Zone snuggles in, placing itself amongst the frequently surreal but impossibly catchy arcade output of Sega’s earliest productions.”