Project Cars (PS4) Review


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“Obsession is Project Cars’ only real dressing. Music is absent during the race; the shifting of gears is the sole rhythm in the background. Races have no pomp and circumstance, no celebrations, no elation upon victory. There is no emotion, just pistons and oil. Career play has no face, merely passive emails and scrolling social media feeds to show if fans are elated or disgusted. The repetitive niceties of the public internet at large is Project Cars one dose of unreality.”

Read my full Project Cars review at GameSkinny

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Taken 3 Blu-ray Review


“This third entry finds someone taken in a most definitive way, leading Mills to reenact The Fugitive, only it was not a one-armed man. It was Russians, because it’s always Russians now. Can the Cold War be nostalgic? All of this action, whether Mills is punching police or pointing guns, is riding on a listless story which neither has the spunk nor the urgency which began this swiftly profitable series. There is no purpose, just an excuse to jump start this sometimes/sometimes not hero into a frenzy.”

Read my full Blu-ray review of Taken 3 at DoBlu

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The Babadook Blu-ray Review


“Babadook’s style is visually rattling with closed-in walls, deepened color, and distancing coldness surrounding the main set’s home interior. A widowed mother, her eyes pale and sleepless, wanders these claustrophobic and shrunken hallways. Her son Robbie (Noah Wiseman) is nearing seven. He’s troubled. He sees things, dark things, which propel him beyond normal childhood fantasies and cause him to violently act out in fear.

But this is only part of Babadook. It a film about a children’s book. It is unknown where the piece of pop-up fiction came from but soon it will be obvious, then joyless. Babadook sterilizes nothing. An allegory of death and failing to let go looms. The grip always grows stronger.”

Read my full Blu-ray review of The Babadook at DoBlu

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Avengers: Age of Ultron Review


“And this is the best kind of popcorn blur in the comic sense, a film engorging on ideas and proving snappy with its naming conventions: Age of Ultron. This is not a future. Ultron’s age is today where our interconnected computer systems are unavoidably vulnerable, our reliance on technology is distressing, and the capability of rights-crushing surveillance via these systems is certain to be tragic. Age of Ultron, as with every should-be-repetitive-by-now-but-its-not Marvel movie, covers the warnings and perceptive observations with doses of humor. The gags fly in equal tandem with the action, but the urgency is not lost. Accessibility instead of preaching.”

Read my full review of Avengers: Age of Ultron on DoBlu

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Selma Blu-ray Review


“Such a march speaks loudly to current, paralyzing social turmoil. It has, through time, come to represent gay rights, financial inequality, and staggeringly, continued battles over voter’s rights. Selma teaches as a film of perspective. In this, it is valuable and it is real. Selma shows how rightful progress is made. Not through fear. Not through violence. Rather, perseverance, tolerance, and patience. It is tremendous to see this medium use its entire worth.”

Read my full review of Selma at DoBlu

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Project Root (PS4) Review

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Project Root’s world is a mixture of biological and mechanical. Its scenery is dotted with forests, which are interrupted by cavernous pits of machinery laid inground by Prometheus Corporation. The planet, it seems, is dying by their hand. There are no homes. No people. No activity other than pockets of resistance and bullets of many colors swirling across the air.

Prometheus Corp owns the Earth in 2068. How they gained their financial power is unclear. There is no one left to buy their materials anymore, let alone a stock market to support their girth. They exist to create weaponry for protection against their feisty rebel opponents, who named themselves Arcturus. These warring factions are the sole signs of intelligent life.”

Read my full review of Project Root at GameSkinny

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Growl (Arcade) Review


“The graphic violence is not necessarily repulsive in and of itself (though Growl’s ferociousness was unorthodox in 1991). Rather, Growl chooses to be crude and reactionary, content that an audience willing to pour in quarters would accept such a heinous depiction of human execution. The imagery is outright vile. PETA could hand out Growl as a digital business card. Sympathy for poaching is inexcusable, but believing this to be a solution is equally grotesque. Growl is as effective in its messaging as a campaign yard sign.”

Read my full review of Growl at Game Bias

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