Film Review: Revolutionary Road

A reunited Winslett and DiCaprio star in director Sam Mendes' adaptation of Revolutionary Road. Seeing that Winslett has already picked up a Golden Globe for her role and a further Academy Award nomination, this was another situation where it would be difficult to approach the film with an inexpectant outlook.

Set in the 1950s, Revolutionary Road is the darker story behind the façade of suburban lifestyle, as a couple - Frank and April Wheeler (DiCaprio and Winslett respectively) - struggle with their relationship as they become increasingly disillusioned with the much touted American Dream.

Soon enough April, a failed actress (ho ho, the irony), suggests that the family move to Paris so that Frank, who has always despised what he has done, can finally figure out what he wants to do. Frank willingly agrees, and the enthusiastic couple do not hesitate to spread the word, much to the disapproval and scorn of all but one.

The one man who can see the reasoning behind their choice is John Givings, the son of a neighbour, portrayed brilliantly by Michael Shannon (who has also picked up an Academy Award nomination for his role). John makes no secret about his recent stay in a psychiatric hospital or his electroshock therapy, nor does he hold anything back when analysing or criticising the Wheeler's choices or the suburb in general. Despite, or perhaps because of his insanity, he is the only one who openly speaks against the façade, instantly making him one of the more likeable characters in a sea of pre-dinner Martinis and forced laughter.

The effect John has on the Wheeler's during his few scenes is infinitely more significant than any of the other characters. While at first the couple are spurred on by his insightful and shameless comments, as their plan deteriorates and his remarks turn to harsh criticism it drives them to the edge. It's just a shame that he didn't feature more, as the few scenes with him are easily some of the most interesting in the film.

When the ending does come it's suitably dramatic, although like other moments in Revolutionary Road is dragged out a little too much. There are several moments near the end which would have made for a perfectly suitable climax, but the film forces itself to carry on, giving that little bit more closure each time until it starts showing the reactions of various minor characters. It's not difficult to imagine this working in the book, but in a film it feels dragged out and unnecessary.

Revolutionary Road is by no means a stunning film, but a select few performances and it's wonderfully dark story certainly make it worth seeing. It may feel a little dragged out at times - specifically the times without Winslett or Shannon - but if you're up for a deep and dramatic insight into the turmoil of 50s suburban life, this is probably as good as it gets.

4/5

Fun fact: No man in Revolutionary Road can go for longer than twenty seconds. Not even Leonardo DiCaprio. No wonder Kate Winslett was so frustrated.

Broomgrove Road > Revolutionary Road - tomdoodle16@live.co.uk

Film and DVD Review: Taken

There's been a for as long as I can remember that those fat, loud people over the pond have always, for one reason or another, got all the good stuff first. But we Brits have never questioned this, oh no. We've muttered under our breath about it certainly, that's what we do, but we never outright complain; for the simple reason that we know that when there's the rare, brilliant occurrence that we get something before America does, we're not going to let them forget it.

Taken is one such example of a film that's only just found it's way through the maze of Wal-Marts, McDonalds and discount gun stores and into American cinemas, but has already been released on DVD in pretty much everywhere else. So, this review - which I wasn't really planning on doing otherwise - is for the benefit of those lovely people in the US of A. Yes, you with the cheeseburger, that means you.

So Taken stars Liam Neeson as Bryan Mills, an ex-government agent who is forced out of retirement when his daughter is kidnapped by Albanian sex traffickers. After landing in Paris, Mills doesn't stop for breath before he starts building up a body count, ruthlessly tearing through the criminal underground in the trendy Bourne-esque fashion. It's a genuine thriller, superbly interlacing suitably gritty and violent punch-ups with some deeply disturbing scenes of torture and trafficking, all the while maintaining a level of realism that never shaves off the dramatic edge.

The performances in general are alright, although the majority of the characters are so deeply rooted in stereotype that it really is very difficult to like them in the first place, but instead of putting you off, they just serve to make Neeson's lead character that much more appealing. Mills is flawed on so many levels; he's over protective, he's ruthless, and treats most of the people around him with a cold, professional disdain, but with his intentions so pure and almost everyone standing in his way more than deserving of their punishment it's impossible not to like him, and Neeson's portrayal of him is nothing short of superb.

Strangely, when it comes to music, Taken is surprisingly quiet. There isn't anything like the thumping rhythm of The Dark Knight, or the heroic trumpeting of Indiana Jones, instead the diegetic sound tends to take over, with the music in most scenes making for faint background. This is by no means a bad thing, but with the rest of the film being so typically Hollywood it feels a bit out of place or indecisive. It's not about to ruin an otherwise very good film, but if your used to similar Hollywood-style films it's might be a little off-putting.

With that said, Taken is definitely worth a look. It's an absolutely thrilling ride and Neeson is, as always, a class act.

4/5

It's films like this which make me sad that they killed off Qui-Gon Jinn so quickly.

Les DVD Special Features:

This is an occasion that I've been savouring for a while, one that is even rarer than a film being released everywhere else in the world before a release in the US. The time when I can safely summarise the material with three short, simple words: What the fuck?

Taken is, for the most part, spoken in English. The main character speaks English, most of the supporting characters speak English, and half the time the French characters speak English, albeit with a heavy accent. So where do they get off putting all the extras in French, and without subtitles?

Still, it's not as if there is much in the extras worth watching. The making-of section is fairly interesting, but nothing else is really worth your time. Not unless you're really interested in how various scenes which have undergone strenuous editing looked before they were edited. Because that's really interesting stuff, right?

No. The special features are absolute rubbish, you'd be wasting your time if you went anywhere near them.

1/5

Yes I know the director is French but still, at least throw in bloody subtitles.

Loves America really - tomdoodle16@live.co.uk

Game Review: Fallout 3

From Bethesda Studios, the minds behind the brilliant Elder Scrolls series, comes the long awaited next instalment in the Fallout series: Fallout 3. With Bethesda's proven pedigree with RPGs, it was difficult to imagine Fallout 3 falling far short of brilliance.

Instead of launching you straight into the wilderness, Fallout 3's beginning is a little more gradual. Starting from birth, you'll play through all the key events in your character's early life inside a secure vault; including learning to walk, your birthday party, and sitting the G.O.A.T exams (which is hilariously referred to as "Taking the goat"). This doesn't just serve to teach you the basics of the various aspects of Fallout's gameplay in a manner both concise and intuitive, but it managed to bring depth to various characters before the game has even chugged into second gear.

Everything then kicks into full throttle, as your childhood friend reveals that your dad has left the vault, and with him being the only family you've got you'll follow in hot pursuit, and take your first steps into the big, wide world. Now, it's worth pointing out that Fallout 3's take on a post-apocalyptic Washington DC is nowhere near as pretty as the worlds Bethesda previously created for Oblivion or The Shivering Isles, and it still pulls the same tricks of copy-pasting certain blocks of environment between the more important, detailed locations to feign a greater sense of scale. But, despite it being a barren pallet of grey and brown, it's still awe-inspiring regardless. The level of detail in the areas that Bethesda didn't copy and paste is immense, and as soon as you see the decrepit remains of the Washington Monument looming eerily over the mutant infested ruins of DC that's it: you're immersed in this world and there's nothing you can do about it.

Even though it's impossible not to become immersed, the Washington Monument is always going to look like a penis

This is because immersion it what Fallout 3 does best, and this is not only evident in the game's world but in the sheer amount of detail available when developing your character. Like with most RPGs you'll gain experience from completing tasks and killing the various creatures you'll meet in the wasteland, but once you gain enough experience to level up you'll realise just how intricate and immersive developing your character is. As well as the usual attribute and skill distribution that any RPG player will be very familiar with, there are a selection of perks that become available when you meet a certain criteria. Each perk will effect your experience with the game in a different way; some simply improve your skill with a certain weapon, another will allow you to blow up enemies with a single bullet. Choosing which of the unique perks you want to customise your character with is, without fail, going to draw you even further into Fallout 3.

I never thought I'd be lucky enough to play something that made Gears of War look tame

As well as the role playing elements, Fallout 3 is also part shooter, and can boast one of the greatest arsenals of weapons out of any video game on the 360. Any game that offers you the chance to wield a modified vacuum cleaner and launch a stockpile of dinner plates and teddy bears into the faces of bewildered onlookers is, quite simply, an experience that nobody should be without. The other weapons, while hardly comparing to the genius or innovation of the aforementioned vacuum cleaner, are still exceptionally designed, making up a collection of weapons so diverse that, even if you've only specialised in one type of weapon, there will be enough diversity between within that type that you will rarely find yourself at a significant disadvantage.

How you actually use these guns won't feel like anything new at first, until you start using the V.A.Ts targeting system. V.A.Ts bring the world to a standstill, allowing you to pick and choose your targets before you watch your chosen actions being performed in brilliant slow motion cinematic sequences. Thanks to Fallout 3's copious amounts of blood and gore, this will never get old. Ever. There will always be something deeply satisfying about watching enemies gratuitously explode into a thousand little bits with a single bullet. Although, as satisfying as they are, because you're constantly popping in and out of real time to use them, V.A.Ts tend to break up the flow of the gameplay. The effect isn't quite as staggering as the constant pausing you had to do to use the abilities in Mass Effect but it's hardly ideal, especially as you'll find yourself relying on them most of the time. This also serves to takes the edge right off Fallout 3's shooting element; having you rely on percentages rather than actual skill. Don't get me wrong; V.A.Ts are, without a doubt, incredibly satisfying, they're just a little bit broken when it comes to actual gameplay and not just the raw visual display.

I knew that Maths GCSE was going to come in handy

The thing is though, even with the niggling issues - and they are niggling, the only reason I've had to talk about them so much is because there is so little to criticise - Fallout 3 is never going to stop drawing you in, at least until you develop the willpower to save it and turn off the console. This is one of those brilliant games that you find yourself coming back to over and over again, and with all the downloadable content lined up (no word on whether it will contain armour for your dog yet, just cross your fingers and hope), you're going to be absorbed in the world of Fallout 3 for a long, long, long time.

9/10

Ooh, and Liam Neeson and Malcolm McDowell are in it, and you can get a dog, ooh and, and... I really wish I had room for an extra paragraph. Bloody word limit.

Ran out of synonyms for "really really good" a long time ago - tomdoodle16@live.co.uk

Ring o' Death (and other updates)

So, it seems that my 360 has gone tits up again, and I'm not entirely sure where this leaves me.

I'm going to go through the usual hassle of phoning up Microsoft, talking to an automated message for a few minutes (or hours, depending on whether the peppy arsewipe decides to be helpful or ask me the same question eight times in a row), and then talking to some bloke in Asia for another few minutes (or hours, depending on how many times he asks me to spell out my surname), to see if I can get a free repair. If that's is the case, I'll be out of game reviews for a week or two. If I can't get a free repair, then I'll pop into town, get myself a new 360, and there won't be any delays, fuss, or whatever.

In the meantime, I feel like I've played enough of Fallout 3 to get a review done. Well, I've played it enough to internally destroy my console, at any rate. So expect a review of that by the end of the week. You'll also have noticed that I'm churning out film reviews over the weekends, and that's because I've been toddling off to the cinema every Friday. This is a routine that I'll be continuing for the foreseeable future, so expect another film review every weekend.

The reaction to my Oscars overview was surprisingly positive, considering it was fairly uninformed and only covered about a third of the awards, so I will probably be doing more of a similar thing. If anyone knows any sites that have up-to-date game, TV or film news, I'd appreciate if you could link me to them so that I could, er, borrow their material. It'll end up being similar to the Oscar nominations overview; I'll give an opinion, throw in a few jokes if I can, you probably won't laugh - you know the drill.

You're probably sick of hearing me harp on about how I've got a video review planned, and I figured it's about time I updated you on that. I haven't really done much for the Heroes review so far, I'm probably waiting until February half term for that, so that I can go through the series again. But, in the meantime, I've decided to do a video review on the new series of Skins, a sort of teen drama-y thing. Only thing I know for sure is that it's going to be quite short, as I've only got one episode to work with, and that it will contain as much swearing as my middle-class politeness boundaries will allow me to include. Ho-hum. Anyway, I should get that done fairly soon.

Right, there you are, an update of sorts. Does anyone actually read these things? Oh, feedback is appreciated, hope you've enjoyed everything, hope you keep reading, sorry for spamming various forums and Facebook with links to this site, please don't hate me, etcetera etcetera.

Cheers,

Tom

For that matter, does anyone read this bit either?

Knows he needs to get out more, stop telling him that - tomdoodle16@live.co.uk

Film Review: Milk

From acclaimed director Gus Van Sant comes the story of assassinated 1970s politician and gay rights activist Harvey Milk. Simply titled Milk, this film has already earned an impressive amount of award nominations, including the Academy Award for Best Picture and Best Director, making it difficult to expect anything other than greatness from Van Sant's latest work.

Opening with a broadcast announcing the assassination of Harvey Milk, the film then backtracks as Milk himself (Sean Penn) details the final eight years of his life, to where the events leading up to his tragic death began. We see his influence spread, as his actions in one small neighbourhood gradually gain momentum and gain national recognition and importance, as his campaign for equal rights for gays is met with the bigotry and hatred of 1970s American conservatives. This story alone is superb and the driving force behind the film, but the true drama is found a Milk recounts his personal life, and we realise just why this man was an inspiration to so many, as well as the hardships and tragedy he suffered during his eight years campaigning. It's absolutely stunning viewing, fantastically emotive and wonderfully told.

Sean Penn is nothing short of brilliant as Harvey Milk, being both quirky and deep in equal measure in a wonderfully enthusiastic performance, with Penn's personal background as a liberal political activist adding a little more credibility and believability to his portrayal of Milk's character. This is definitely a performance worthy of an Oscar nomination. The same goes for Josh Brolin, who's nomination for Best Supporting Actor is well deserved, as he captures the tormented mind of Milk's conservative peer Dan White superbly. There are even a couple of surprising performances from James Franco and Emile Hirsch, who are better known for their respective roles in the awful Spiderman 3 and Speed Racer films, but are both fantastic in their parts here.

Being a biographical account of Harvey Milk's final years, naturally the physical portrayal of the characters had to be fairly similar, and this is another region where Milk excels. As shown by a tribute reel come the end of the film. the physical characterisation by the cast is superb and nothing short of a triumph. The tribute itself is excellent, and one of the most emotional five minutes you'll have to fortune to experience in the cinema today.

It's no surprise that Milk has been nominated for Best Film at the Academy awards. Not only because of the story, which alone screams "nominate me", but it's a fantastic film, deep and emotional, and wonderfully acted to boot. This is another must-see for 2009.

5/5

Slumdog Millionaire is still better, though.

Proud member of the "I have seen Sean Penn's bare arse" club - tomdoodle16@live.co.uk

Game Review: Braid

Developed by Jonathan Blow of Number None, Braid is another one of those charming independent titles that has risen to fame through the Xbox Live Arcade after it's release back in 2008. It's coming a little late, but I just had to have a nosey, and find out why Braid has caused such a buzz in the community.

Braid certainly didn't cause this buzz because of it's plot. The gist of it is simple enough; you'll traverse various different worlds, trying to find the Princess who is always in another castle. It all sounds very Super Mario, which is no bad thing, but Braid seems to have deluded itself into thinking that there's much more to it than that. So much so that it will ask you to read through reams of text, all of which are pointless because they're so ambiguous and vague. This is supposed to leave the story open to interpretation, but it just comes off as pretentious.

"Could you just give me her address so this doesn't happen again?"

On the other hand, Braid truly shines with it's furiously clever gameplay. While at first it may seem like a typical platformer, again paying homage to the Super Mario series with the classic jumping-on-enemies-heads action, there is so much more to Braid than that. The true brilliance of Braid is in the time manipulation. This is hardly a stranger to games; Prince of Persia has been using time reversal throughout the last generation, but Braid applies it in such a way that it makes any other game's time manipulation mechanics look simplistic and dated by comparison.

Each world offers you a different and unique kind of time manipulation, which you'll have to use to solve puzzles and avoid dangerous obstacles, and this is where Braid is truly unique. Most games rely on movement, having you move from one place to another through or around various obstacles, but Braid requires you to start thinking of things in relation to time as well as this. This does have the annoying side effect of making Braid's difficulty curve fluctuate between fairly simple and bollocks twisting-ly hard. Some puzzles are going to be blindingly obvious while others are going to gnaw away at your mind until you've exhausted yourself performing the same trial and error ten times over and leave the game in bitter frustration. With Braid's inherent pretentiousness you can't help but get the feeling that, while you're sat there frustrated with the challenges, it's snootily mocking your inability from a far off distance. However, this does serve to make completing levels in Braid that little bit more satisfying, and you will find yourself looking back and marvelling at how bloody ingenious it all was.

Yeah, shut up now, I want to rip a hole in the spacetime continuum.

All this is wonderfully topped off with Braid's beautiful worlds and musical score. This is quite possibly the best looking Xbox Live Arcade game available, and I doubt any words I use to describe it could do it justice, unless I threw several hundred "really"s in front of it. It's just gorgeous, making the worlds in Braid absolute joy to play though. At least when it's not making you feel like a fool.

You will struggle to find a game as pretentious as this one, and for that matter you'll struggle to find one as difficult or frustrating. But despite all that, Braid is still worth a look, purely for it's unique time manipulation. A beautiful and sophisticated game, Braid is definitely one of the best titles on the Xbox Live Arcade.

9/10

Right, done, and it only took me six months to get round to it. I'm so well organised.

Master of time and space - tomdoodle16@live.co.uk

The 2009 Academy Awards

Now that the Academy Award nominees have been announced, it's time for amateur critics to hop on the almighty prediction bandwagon, so that when the Oscars are finally awarded we can jump and point excitedly at our blog posts from a month earlier, jabbering on about how we predicted various winners and pretending that we have a vague influence in the award panel, all the while sweeping any guesses proven false under the carpet with a less-than-sneaky edit. And, since I've never been one to buck the trend, I figure I might as well join in.

Oh, and for a full list of the nominations, just head on over to here.

Best Picture
The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Reader
Slumdog Millionaire

Embarrassingly enough I've only seen one of the films nominated for this award, but in this case it's probably sufficient. It's already got the Golden Globe and Critics' Choice award for Best Picture tucked safely under it's belt, as well as another two nominations for Best Film and Outstanding British Film at the BAFTAs, making it very hard to see past Slumdog Millionaire for Best Picture.

Best director
Danny Boyle - Slumdog Millionaire
Stephen Daldry - The Reader
David Fincher - The Curious Case of Benjamin Button
Ron Howard - Frost/Nixon
Gus Van Sant - Milk

Again, this is another scenario where it's almost impossible to see past Danny Boyle and Slumdog Millionaire. Come on, he's won three Best Director awards for it already. The only way I can see him losing out on this award is if the voters decide that someone else should have a turn making an acceptance speech.

Best actor
Richard Jenkins - The Visitor
Frank Langella - Frost/Nixon
Sean Penn - Milk
Brad Pitt - The Curious Case of Benjamin Button
Mickey Rourke - The Wrestler

Oh come on, Rourke has to walk away with this one, he carried The Wrestler with one of the most moving and emotional performances of the decade.

Best supporting actor
Josh Brolin - Milk
Robert Downey Jr - Tropic Thunder
Philip Seymour Hoffman - Doubt
Heath Ledger - The Dark Knight
Michael Shannon - Revolutionary Road

How weird is it seeing Tropic Thunder in-between Milk and Doubt? I reckon this one will be a toss up between Hoffman and Ledger. As cynical as it sounds, Ledgers death will probably give him an edge to win another posthumous award. It's not as if it's undeserved, he was nothing short of superb in The Dark Knight, but there's always going to be that niggling "what if?" doubt in the back of many people's minds.

Best animated feature film
Bolt
Kung Fu Panda
Wall-E

I've got a feeling Wall-E is going to take this one; not only because it's arguably the best animated film of the decade, but because the lack of dialogue gives it an almost art house quality that's never found among animated feature films. It's unique, and I'll be very surprised if it doesn't win this award.

Best original score
The Curious Case of Benjamin Button
Defiance
Milk
Slumdog Millionaire
Wall-E

Once you get past the surprise that The Dark Knight didn't get a mention for it's score, you're staring right back into the face of Slumdog Millionaire for this one, with two of it's songs nominated for Best Original Song award.

Best original song
Down To Earth - Wall-E
Jai Ho - Slumdog Millionaire
O Saya - Slumdog Millionaire

See, now this is probably the only category I can give a proper prediction for, since I'm a massive fan of all three songs. Personally I'd be leaning towards O Saya, but I reckon Jai Ho will take it. Either way, as brilliant as Down To Earth was, I can see Slumdog walking away with another award here.

In case you haven't figured it out, I've got a feeling that Slumdog Millionaire is going to walk these awards. And it would probably deserve them; it certainly deserves every single nomination. I'd like to see it perform a clean sweep as well, as it's nicked a place in my heart as one of my all time favourite films. It's just a phenomenal all rounder.

One of the biggest surprises of the 2009 Academy Awards is The Dark Knight's lack of mentions. I'm struggling to see why it's been overlooked so consistently, last I checked it had done brilliantly with critics. Maybe it's not quite as sentimental or emotional as some of the other films that have sprawled themselves across the various award nominations, like desperate whores turning tricks in return for glittery statuettes. But it's still damn good, and surely worthy of more high profile nominations?

So there you go, a prediction on the 2009 Academy Awards that barely meets the minimum requirements to call itself "informed". Although I've just realised how few good films I've seen this year. Like, properly good films. I've been going out of my way to play the best games, so it's probably about time I got round to seeing more, and better, films. What do you know, I've finally got a new years resolution.

You have no idea how bored I had to get before I considered writing this. Seriously.

Isn't looking forward to rewriting all this after he sees Milk tonight - tomdoodle16@live.co.uk

Film Review: The Wrestler

There's always an innate difficulty in writing about films like The Wrestler, when the performance of one outshines the rest of the film to such an extent that you're not entirely sure what to focus your words on; whether you should take the formulaic approach that you've adapted to or spend a good few paragraphs raving about a certain man and his remarkable talents.

In this case the performance belongs to Mickey Rourke who, as Randy "The Ram" Robinson, delivers one of the most wonderfully emotional performances in recent cinema, capturing both the powerful façade and the weak reality of the character with the essence of a true professional. Absolutely dominating every scene, you'll never forget that he is The Wrestler.

Although, once you look past Rourke's performance, you'll find that The Wrestler is a real slow burner. Some of the more potent scenes are superbly paced, but it takes too long to get there, and interlacing these poignant moments with scenes of brawling or in some cases virtually nothing never really fits.

On top of that, The Wrestler doesn't offer any real closure. At first it appears as a typical falling from grace film, as Rourke's Wrester struggles with a heart condition as he tries to claw his way back to the top, while trying to win the affections of his estranged daughter (Evan Rachel Wood) and a stripper (Marisa Tomei). Watching the relationships between these characters gradually evolve over the course of the film is nothing short of fantastic, as they're beautifully emotional, humorous and genuine scenes. Which makes the final half hour of the film, when he systematically destroys everything he's meticulously built up, even more galling, and you may well walk away feeling as if The Wrester has just wasted your time.

The Wrestler will go down as one of those irritatingly ambiguous "cult classic" films. The kind of film that most people will watch with a expression lingering between bemused and tired, while others will hail it as cinematographic genius shortly before attempting a Ram Jam on the family dog. There's undeniable quality here, especially where Rourke is concerned, but it will take an acquired taste to enjoy this inconclusive and deeply unsatisfying film.

3/5

Every time some of the music came on during the film, some middle-aged guy on my row started head banging. I'm not kidding, and it was hilarious. I might invite him to see Slumdog Millionaire and see if he jumps up and starts doing the Bollywood dance at the end.

Tried to make up his own wrestler title and failed miserably - tomdoodle16@live.co.uk

Cheaper Game reviews

A few weeks ago one of the members from block17, skiprat, created www.cheaper-games.co.uk, and he's kindly offered to feature my games reviews on there (which will look a little something like this), so I figured I'd try and do something similar in return and tell you good people about it.

Cheaper Games is a UK based price comparison site. As well as offering a free and accessible price comparison service for new and upcoming games from the best UK and online retailers, you'll also find that Cheaper Games offers up-to-date gaming news from some of the best online sources. So if, like me, you're looking for a new game but you're worried about the weight of your wallet, I'd definitely recommend checking out cheaper-games.co.uk.

I'll put a link up in the side-bar, so that you'll be able to find it even when this had slid down to the bottom of the front page.

Right now that I'm done shamelessly advertising, I'll leave you to it. But seriously, it's an excellent site and comes highly recommended, and it's definitely worth a look in at the very least.

Cheers,

Tom

Maybe I should start writing adverts for confused.com

Might have to start doing actual work soon... bollocks - tomdoodle16@live.co.uk

Game Content Review: Fable 2 Knothole Island

After a few delays, the adventure of Fable 2 can finally continue with the first set of downloadable content; the nostalgically titled Knothole Island. It promised much, but past experience from the original Fable's sub-par additional content raised some doubts among fans. Could Knothole Island reinvigorate Fable 2, or would it prove to be another example of dud content?

Unfortunately, Knothole Island is almost certainly the latter. While the island itself is beautifully designed and intricately detailed, almost everything else about it feels thrown together. Not only do the three new quests amount to little more than fetch quests, but they're incredibly short and all do-able in under an hour. The characters are entirely forgettable, failing to reach the standards of the witty and interesting characters from the main game and a swift reminder of why the skip button was included for non-playable characters wordy dialogue. There aren't even any new enemies to freshen things up.

The technical issues and bugs that saw Knothole Island pushed back over a month haven't been fully ironed out. During the short time you'll be playing the expansion you'll notice that frame rate issues are now much more common both on Knothole Island and in mainland areas such as Bowerstone and Oakfield, even if you've install the main game onto your hard drive. How they've managed to delay it for a month and still not manage to fine tune it despite it's small size is a little pathetic, really.

The only real strong point of the Knothole Island pack is the amount of new toys available. There's an assortment of new clothes, a bulky arsenal of new weapons - including a novelty Halo rifle - and a bunch of augmentations to customise them with. There are even new potions which alter your physical appearance allowing you to gain weight, grow taller, or instantly beautify yourself, making detailed character customisation much easier. You'll also have the opportunity to revive your dog if you gave him up at the end of the main quest, although that probably cheapens two of the three endings a little.

But once you've played around with the new toys, that's it. They're just gimmicks; novelties that don't add anything to the game experience as a whole. They're fun at first but they have the lifespan of a flea, which effectively summarises the whole of Knothole Island.

As the first downloadable content for Fable 2, Knothole Island is a big let down. It's short, repetitive, and not half the expansion that Lionhead cracked it up to be, although to be fair nothing is half the anything that Lionhead will hype it up to be. The only people I can imagine having any interest in this are the ones who bought the limited edition of Fable 2 just so that they could having the satisfaction of wearing Master Chief's armour, because clearly they're the only ones willing to waste good money on in-game novelties. To put it bluntly; even if you enjoyed Fable 2 this probably isn't worth your time, and won't be until they make it free.

4/10

Yes, I know it's short, but what am I supposed to do with an hour long game add-on?

Totally forgot he was meant to review Braid - tomdoodle16@live.co.uk

Game Review: Left 4 Dead

Left 4 Dead is the latest offering from Valve, the acclaimed developer who have previously brought us such gaming masterpieces as Half Life 2 and Portal. With such a remarkable pedigree it's difficult to expect anything other than excellence from Valve, and it was almost without doubt that Left 4 Dead would deliver. I mean; Valve developing a multiplayer game with zombies? What could possibly go wrong?

Left 4 Dead feels like it's been ripped right out of a classic zombie film. You play as one of four survivors, each one playing up to their individual stereotype in the usual fashion, and as a team you'll shoot your way through the horde of infected to reach safety. It's nothing complicated, and certainly nothing deep, but thanks to the four survivors - who feel satisfyingly human and are very well characterised - it's a little more enjoyable than the typical zombie game.

If they'd collectively spelt out "brains" by trampling down the corn, Left 4 Dead would have been the greatest game ever.

With a group of likeable characters, you'd expect Valve to follow up with some excellent gameplay, as per usual. But in Left 4 Dead, they've left most of the gameplay to the so-called "AI Director", an apparently sophisticated programme developed to change where enemies spawn, where equipment shows up, and play around with the sound and visual effects to not only create the creepiest experience, but also the increase the game's replay-ability by changing the experience each time. While it sounds like a fantastic concept, but it never quite seems to cut it. Most of the time you'll find that equipment shows up in the same place, that enemies spawn in the same location and that the AI Director will play the same tricks over and over in an attempt to get a scare. It's not a bad innovation, it's just not all Valve cracked it up to be, and needs a little refining before it's wheeled out again.

Because the AI Director isn't particularly sophisticated, Left 4 Dead's gameplay is very repetitive. Admittedly there are four different campaigns, which naturally include all the generic settings from zombie films but, as well as being very short, each one plays so similarly that you might as well be running down one corridor with interchangeable wallpaper. The zombies are varied enough; besides the cannon fodder zombies there are five other types of zombie, each requiring different tactics to beat effectively, and this is where Left 4 Dead shines. Working together to beat the bigger enemies is one of the most fun and rewarding experiences in a game. But once you've fought a zombie once, you know the tactic for beating them, and at that point Left 4 Dead veers once again into the repetitive.

The tactics for the tank include "run", "shoot", and "die like a bitch".

To break the monotony of the campaign there is a multiplayer versus mode, which is essentially the campaign but from the zombie's perspective. Playing as one of the elite zombies you'll be able to hunt the four survivors, killing or damaging them to score points. While it's not going to fully break the monotony of the campaign, since half the time you'll still be playing as the survivors against player controlled zombies, the opportunity to play as the zombies is well worth it. The only real issue in the versus multiplayer (besides the ones that come with the co-op) is the long respawn time. It's easy to see why the respawn time is so long; having so many elite infected in the game could make it far too difficult for the survivors. But surely there's a better alternative to having twenty or thirty seconds of nothing?

Not even Michael Moore was safe from the infection; he's just been eaten by this zombie John Goodman.

Valve have developed a habit over the past few years of finding an innovation and sticking it to their Source engine. Left 4 Dead carries on that trend, but with the innovation being surprisingly weak, the four year old Source engine is left to pick up the pieces; and the extent as to how dated this engine is really starts to show. It's still competent, but four years is a long, long time in the games industry, and in a game where lighting and shadowing are so important, the Source engine is starting to show it's age. In games like Portal or Team Fortress 2, it's forgiveable; both were released at around a quarter of the cost of a normal game, or as additional content in the brilliant Orange Box. But with Left 4 Dead, a full price game, we should be getting more for our money than an outdated engine and a half-arsed AI Director.

Left 4 Dead doesn't really do anything wrong, and if you're a fan of zombie films or first person shooters then this could well be the title for you. But this still feels like a let down; the engine is dated, the AI Director is predictable, and it's very repetitive, and not really worth the full price it asks for. It's competent, but there are other games out there more deserving of a purchase.

7/10

Good god, I'm finally being controversial. Ooh, I feel all tingly.

Played Queen's "Don't Stop Me Now" during every campaign - tomdoodle16@live.co.uk

Film Review: Slumdog Millionaire

From director Danny Boyle comes Slumdog Millionaire, the story of a contender on the Indian version of "Who Wants to be a Millionaire". But this time the real drama does not lie in the show, but in the amazing back story of the boy who knows all the answers.

The boy in question is Jamal who, being one correct answer from the game's big prize, is arrested for apparently cheating. The resulting interrogation by a police inspector reveals an astonishing story, as Jamal recounts how he, a boy from the slums, knew the answer to every question he was asked. The convenient ordering of the questions allows us to follow his story from his childhood to the present day, as we're treated to the risky misadventures and charming love stories of his life.

Jamal's story offers an unparalleled insight into the struggles and highlights of an Indian slumdog, brimming with incredible moments that may be hilarious, tragic, or anything in-between. But the one guarantee is that, no matter what feeling or emotion Slumdog Millionaire invokes, the result will always be genuinely touching and memorable, and there's no doubt that you'll be infatuated with Jamal's character throughout.

The deep connection we develop with Jamal, and with every other character, is down not only to Slumdog's superb writing, but also the brilliant performances from every actor on show. Dev Patel (formerly of E4 teen drama Skins) puts in a stunning performance as the present day Jamal, nailing every aspect of the character in a truly emotional performance. Freida Pinto, too, was remarkable as Jamal's love interest Latika, especially considering this was her first role in a feature film. And particular praise must go to the child actors, who portrayed the younger characters with undeniable energy and charm. But every actor in this, from the bit part players to the leading rolls, were fantastic, creating a film that has a great energy and life, while constantly maintaining a grounded realism.

Slumdog's remarkable camera work only adds to the already great experience. Despite being mostly set in some of the poorest areas of India, everything looks stunningly beautiful, so much so that the shots of the Taj Mahal almost fade into obscurity among the lively and bustling slums and markets. The flickers of bright colours in these scenes are gorgeous, contrasting the corrugated iron and concrete with a fierce and radiant beauty. But the true genius of the film lies in the music. A blend of authentic Indian and western music, the soundtrack not only captures the essence of the film, but fits perfectly with the scenes, allowing for become one of the most captivating experiences in recent cinema.

What is so refreshing about Slumdog Millionaire is that, come the end, everyone is just so happy. Seeing this kid from the slums go on this magnificent journey, suffering the violence and tragedy of his childhood, finding the girl he loves again and again, and getting covered in all kinds of literal shit, and then having everything eventually work out is just fantastic. If you saw and liked Wall-E, you'll get the same feeling as you did at the end of that. Except amplified several thousand times.

It's early doors yet for 2009, so part of me is thinking that it's a little early to be touting Slumdog Millionaire as film of the year. But I'm going to do it anyway. A genuine, touching and absolutely stunning film, Slumdog Millionaire should not be missed by anyone. It's a gorgeous piece of art, an amazing journey, and a collection of some of the most developed and captivating characters in recent cinema. Truly Brilliant.

5/5

You know what? I feel a bit stupid for not watching Skins now. Bet you're all going to be really smug about that, aren't you?

I've already bought the soundtrack for this - tomdoodle16@live.co.uk

Game Review: Castle Crashers

It's not often that independent games make such a big name for themselves on the 360 but Castle Crashers, developed by The Behemoth for Xbox Live Arcade, has caused a hell of a stir among the community. Naturally, I had to check this one out, and see what all the fuss was about.

Castle Crashers is, fundamentally, a 2D side-scroller. As one of four knights you'll traverse a uniquely styled world, fighting hordes of baddies, on a quest to save some kidnapped princesses. It's as basic as you like, barely changed from the classic side-scrollers of days gone by, but it's a class above the typical Golden Axe pretender.

One reason for this, is the fantastic gameplay. While it's nothing particularly new or original, Castle Crasher's fast paced and accessible gameplay makes it furiously addictive and fun. The baddies aren't particularly varied at first, but as you progress you'll gradually meet bigger, tougher enemies, and the extra challenge offered by these baddies will keep the game fresh and interesting from beginning to end, and several times over after that. And, of course, there's the occasional boss fight to spice things up, and really keep you on your toes. What Castle Crashers does is basic, but it's brilliant, and a tremendously fun experience every time you play.

Blue Castle Crashers get all the bitches.

Castle Crashers also boasts a solid role playing element. As well as a ton of different weapons and creature orbs (essentially cute floating animals that assist you in the game), each with their own benefits and flaws, you'll will be able to customise the skills of each individual character to you're liking, allowing for a different character every time you play through the game. With several extra characters to unlock, and each character having their own unique ability, Castle Crashers has a massive amount of replay-ability, an incredible feat for a game which appears so basic.

As well as the single player, Castle Crashers also offers excellent multiplayer features, supporting up to four players both locally and online. Not only can you play through the story with up to three other players, but there are also versus matches available. Each type of versus tests different skills and styles from the single player, and reflects the same frantic, addictive and fun characteristics that made the story mode so fun. With great versus and co-operative modes, Castle Crashers' multiplayer is one of the most fun and addictive experiences available on the 360.

The true brilliance of Castle Crashers lies in the superb artwork. The style is unique, interesting, and varied, with each character having a defining quality, making them distinguishable even in the hectic multiplayer modes. The worlds, too, look fantastic, ranging from dense forests to desert castles and even alien space ships, all of which are a joy to play through. The defining aspect of Castle Crasher's art style is the humour blended into it, which is brilliantly immature, and really adds to the enjoyment and the experience.

Sometimes it's best not to worry about the beast chasing you, and just laugh at the deer shitting itself.

The only possible downside to Castle Crashers' gameplay is the difficulty level, which quickly increases and you play, and sky rockets during boss battles. Because of this, you might find that you'll be replaying the same level several times over, either for experience or gold, which can become a little tedious when you realise you've stopped making progress. It's hardly a game killer, but it's a minor irritation that stops Castle Crasher from being the perfect side-scroller.

Castle Crashers is a slick, fiendishly addictive game that needs to be experienced by everyone who still holds fond childhood memories of classic side-scrollers. Completely revitalising the genre with it's random humour, superb art style and fun, flowing gameplay, Castle Crashers is a superb addition to the Xbox Live Arcade, and for only 1200 Microsoft Points it's surely a must-purchase.

9/10

I think I've just become an early contender for writing the most outdated review of 2009. And if this doesn't win it: next up, Braid!

Promises he'll try and do a longer one next time - tomdoodle16@live.co.uk

Game Review: Call of Duty: World at War

Call of Duty returns to it's roots with the series' latest instalment: World at War. But with Infinity Ward, developers of the phenomenally successful Modern Warfare, taking a back seat, there were one or two doubts about new developers Treyarch, and their decision to return to World War II. Could World at War silence the doubters, and live up to Modern Warfare's success, or has it taken one too many steps back?

While World at War's campaign has taken a step back in time, it certainly hasn't taken a step back in quality. Taking place during America's Pacific campaign, and in Russia's march on Berlin, the single player touches on scenarios that haven't been touched on by recent World War II games, and with the great diversity in environments and weapons, the campaign will feel fresh from start to finish. And, thanks to Treyarch finally putting in a co-op mode - which was long overdue in Call of Duty - the campaign even has replay ability, something that no other game in the series has really had before. It's another superb effort from a Call of Duty game, as they serve up another rewarding, and addictive, campaign experience.

Every game needs a flame-thrower.

As well as treating us to new scenarios and settings, World at War also allows you to sample the darker, grittier side of war, the side that most of the previous games have sugar-coated with glory and patriotism. This side of war is touched upon in both halves of the campaign, including a fantastically potent opening scene where you'll watch your dead or dying comrades shot by passing soldiers, as you lie back and pray you remain unnoticed. World at War has also upped the gore levels, and while this is occasionally funnier than it is disturbing, there are still moments when it adds a certain perturbing quality to the game, that no other Call of Duty really had before.

The reason for the added gore is probably due to the new game mode that World at War introduces: Nacht der Untoten. Essentially, it's the horde mode from Gears of War 2, you'll fight wave after wave of enemies, testing your skill and endurance. Except this time round, you won't be fighting mere Locust, oh no. You'll be up against hordes of Nazi Zombies, possibly one of the most genius enemies ever conceived. It's a great extra mode to have, and should do wonders in giving World at War a little extra lifespan.

Ever wanted to shoot a Nazi zombie in the face with a shotgun? Well...

What is definitely going to give World at War a massive lifespan is the online multiplayer. After Modern Warfare, Treyarch had a huge job of living up to Infinity Ward's standards, and if anything they've surpassed it. Part of the reason why World at War is better is the same reason why so many people dismissed it: the World War II setting. The guns in World at War suit the realistic weapon damage much better, and while some of the automatic weapons are still overpowered, it feels a little more balanced than Modern Warfare did.

Did I mention there were tanks? Did I mention they were awesome?

Apart from the skin, the multiplayer is essentially the same as Modern Warfare. As before, you'll start from level one, and as you earn experience from killing opponents, winning games and completing challenges, you'll rank up and earn new weapons, perks and other equipment. New perks have been added, and there's finally a purpose to Prestige ranking (allowing you to unlock more classes to customise), but it's more or less unchanged. Which unfortunately means it's still got the same problems that Modern Warfare had.

The problem with the multiplayer is that, despite the weapon changes, it's still unbalanced. While there are a couple of game modes with minimum or maximum level caps, playing anything in-between will put you up against anyone, meaning that you can have two different teams with completely different levels and experience. Treyarch have made an effort to balance multiplayer in other areas; for example you'll get an appropriate amount of points for assists, based on the damage you inflicted, but it doesn't quite do enough. It's a great multiplayer, and incredibly frantic and fun, but a more sophisticated and levelled matchmaking system (see Halo 3) would be appreciated.

While there are some minor issues to be ironed out before the next instalment, World at War is nevertheless a fantastic game, both online and off. Any doubts regarding Treyarch's developer role or the return to the World War II setting will be silenced after the first ten minutes. It's a brilliant addition to the Call of Duty series, and if you're a fan of first person shooters, this is definitely worth a look. You almost certainly won't be disappointed.

9/10

Seriously, there are zombie Nazis. Can you honestly think of anything better?

Ask me about my online kill to death ratio. Please? - tomdoodle16@live.co.uk

New year, new write ups

As you've probably noticed I've been writing myself into an imitation wanker's cramp over Christmas, and in 2009 I'm hoping that my schedule will be similarly busy.

I've got my next four game reviews lined up, and I'm finally catching up on the stuff that I didn't have time (or couldn't afford to) review in the build up to Christmas.

First, it will be Call of Duty: World at War, the latest game in the Call of Duty series. At the moment it's taking up just about all my time on the 360, and I'm more than ready to review that now. Hopefully I'll get that written up before the end of the week. Then it's Left 4 Dead, the new Valve release. I haven't had too much time to play it, since I've been too busy with World at War, but what I have played is excellent. Wait, can I legitimately claim that I'm busy with a game?

The other two that I'll hopefully be reviewing are two of 2008's Xbox Live Arcade hits, Castle Crashers - a 2D hack and slash which I'm having immense fun with - and Braid, a classy, sophisticated, puzzle game thing with mental time bending skills. These have been out for a while, but since nothing new has really grabbed my interest (and isn't as cheap), I figured it was time to get them reviewed.

There's also the possibility that the Fable 2 downloadable content, Knothole Island, will finally be available, after what feels like several million delays. It's actually only two delays, but I'm a bit of a Fable fanboy, so it feels like an eternity to me. Yeah, I know I'm a dork, shut up.

"But what about films?" I hear absolutely nobody asking, "What films will you be writing about this month?". Well, with The Spirit out of the way, the next one I'll be looking at is Che: The Argentine. I've heard great things about this from the aftermath of the Cannes Film Festival (ooh, how sophisticated am I?), so hopefully this will be a good 'un.

Finally, there's the video review. I've been planning on doing it for months now, and thanks to a friend of mine I can finally get started. When I say started, I do literally mean "started". I've got very little at the moment, apart from a few ideas and the irritating sound of my own voice fluttering around my head, but now that I've got the material I can get to it very, very soon. Hopefully you'll get a kick out of watching it, as there isn't too much of me in it. Promise.

So, that's pretty much it for now, I'll make other updates as and when they're needed. Although, to be honest, they're mostly for me, so that I have a clear idea of what I'm doing over the month, but if anyone else is interested by them then that's always a bonus. I hoped you enjoyed the write ups last month, I've had some really good feedback from people and it's massively appreciated.

Cheers,

Tom

Oh yeah, and Happy New Year. Hope you all got sufficiently bladdered.

Suggest a New Years Resolution, because I'm too lazy to think of one - tomdoodle16@live.co.uk

TV Review: Jonathan Creek "The Grinning Man"

Following a five year hiatus, British crime drama Jonathan Creek returned on New Years day for a special feature length episode: The Grinning Man. With both writer David Renwick and star Adam Davies returning, could Jonathan Creek relive his past successes?

It's business as usual for Creek, as he is presented with another impossible and seemingly supernatural mystery. It's a very familiar scenario: a man spends a night alone in a room, and when the room is checked in the morning he has vanished without a trace. There's supposedly no way out, no way in, everyone is baffled and just assumes that the room is haunted - and it certainly doesn't help that there's a creepy picture on the wall.

The mystery itself is ingenious, impossible to guess during the episode but brilliantly simple when revealed, and as Creek recaps on all the subtle hints and clues he'd noticed over the course of the episode there's a fantastic satisfaction as you sit back and reflect on the sheer genius of it all. It's very comforting to know that Renwick still has it in him to create these excellent scenarios, and you can't help but think that there's still a lot of life in Creek left.

The performances, too, are great. Naturally Davies is excellent as Creek, as is Stuart Milligan as Adam Klaus, Creek's flamboyant and amoral boss. But the surprise performance came from Sheridan Smith, who'd risen to fame through her role in comedic sitcom Two Pints of Lager and a Packet of Crisps, as she puts in a fine performance as Creek's assistant, Joey Ross. The interaction between Creek and these two other characters really adds to the episode's entertainment value, and whether it's their light hearted bickering or their heavy discussions that make for the shows more dramatic moments, it all feels very real, and are among the best performances over the Christmas period.

Jonathan Creek has always been known for it's comedic sub plots, which deviated a little from the mystery and injected a little humour into an otherwise heavy atmosphere, and The Grinning Man is no different. But with the episodes two hour length, the sub plot has ended up with too much focus, and instead of providing a little light hearted fun on the side, distracts too much from the main mystery. While there is still the occasional funny moment, it's usually surrounded by tedious dialogue and pointless scenes, that don't really add much to anything.

As well as the more comedic sub plots, there's an entire second mystery sub plot introduced about half way through the episode, for no obvious reason apart from the writer's attempting to fill up the extra hour. It's not nearly as interesting as the main mystery, and while it does tick all the boxes for gruesome and bloody, it's not nearly as clever as the impossible room idea that is unfortunately pushed to the side to make room for it. It's a bit annoying sitting through this, as well as the pointless and tedious romantic sub plots, when all we really want to hear is how everybody disappears from the impossible room.
The Grinning Man is another good episode of Jonathan Creek, but it's not about to go down as a classic. While the original mystery is suitably ingenious, the sheer length of the episode hinders it. Instead of a pacey and thrilling mystery, it's a drawn out and occasionally tedious showing from Creek. It's still good, and everything that made Jonathan Creek what it was is still there, and even after the end credits you'll be wondering whether there's a paranormal influence behind the whole plot. But there's too much unnecessary fat to make it great.

4/5

Right, I've run out of television to talk about now. Bollocks.

Is never going to be able to take a bath again - tomdoodle16@live.co.uk

Film Review: The Spirit

After the successes of Sin City and 300, it seemed only natural for Frank Miller to return to the director's chair. This time round it's The Spirit, as Miller tries to adapt another's work for the big screen. Would he have the same success as his previous films, or would the Spirit fade into obscurity?

Unfortunately it's almost certainly the latter, as The Spirit fails to deliver in almost every department. The story is completely schizophrenic, never really sure if it's a film noir detective story, a superhero flick, or a bad lesson in Greek mythology, hopping between the three at random intervals and never properly connecting them. It's essentially the same story for the characters, most of them having a loose connection to each other that is never properly delved into or explored.

The characters themselves are irritating enough, partially because they're shallow cardboard cut-outs with very basic and clichéd wants and needs, but mostly because the film constantly tries to trick you into thinking that there's more to them, alluding to some hidden depth that doesn't actually exist. Even when one of them does something out of character, and you're waiting hopefully for some shadowy intentions to be revealed, one of the other walking clichés will happily slap you round the face with the revelation that the other character probably did it on a whim, explaining it with some long winded psychological nattering which in most cases throughout the film can be effectively summed with with "women, eh?".

It's a little harsh to blame the cast when the characters and dialogue is as bad as it is, but the all round dreary and lacklustre performances certainly contributed to the lack of entertainment the film provides. While it was difficult to expect much from lead Gabriel Macht with his wafer thin pedigree, even big names such as Scarlett Johansson and Samuel L. Jackson - a man who usually radiates awesome - were incredibly clunky and overly dramatic in their performances.

But, to be fair, The Spirit is incredibly clunky and over dramatic in almost every aspect, not least when it tries to convince you that, as well as being deep and mystical, it's also got a darker side. The film couldn't have been blunter or more ham fisted with it's apparently dark and twisted element if it tried, even going as far as having swastikas randomly flare up when the villain is about to give a speech. Sin City barely got away with it's swastika use, mainly because it was only briefly used by a sexy-kung-fu-fighting-ninja-prostitute, which is such a genius concept that we were willing to forgo the sheer cheapness of the swastika use and just roll with it. But in The Spirit, a film where everything is painfully shoddy and cheap, it's laughable.

Where Sin City had plot, and 300 has immense visual spectacle, The Spirit has neither. It's a truly dull film, and the only entertainment to be found here is when you're dreaming after falling asleep. Frank, next time stick to adapting your own graphic novels. Please.

2/5

Anyone else notice that half of the praise said in the trailer for this wasn't quoted from anyone? Ten quid says that they made half of it up and just threw it in there to fool people.

Started the year how he plans to carry it on: full of cynicism - tomdoodle16@live.co.uk