Parents and Movie Ratings
Movie ratings in the UK are overseen by the British Board of Film Classification. A movie legally requires certification to be shown theatrically or released on DVD or Blu-ray. Ratings are governed by guidelines that have been determined through public consultation, expert advice and peer review. In recent years the BBFC has become a measured, informed and progressive body that broadly reaches appropriate decisions that are mainly agreed with by cinema audiences. UK ratings, unlike their US counterparts, are exclusionary. Films rated 15 or 18 prohibit the admission of those below that age. With regard to home media, it is illegal to rent or sell DVD or Blu-ray discs rated similarly.
Movie ratings in the UK are overseen by the British Board of Film Classification. A movie legally requires certification to be shown theatrically or released on DVD or Blu-ray. Ratings are governed by guidelines that have been determined through public consultation, expert advice and peer review. In recent years the BBFC has become a measured, informed and progressive body that broadly reaches appropriate decisions that are mainly agreed with by cinema audiences. UK ratings, unlike their US counterparts, are exclusionary. Films rated 15 or 18 prohibit the admission of those below that age. With regard to home media, it is illegal to rent or sell DVD or Blu-ray discs rated similarly.
In the past the BBFC has made poor decisions and policies have varied under various directors. However a far more level headed attitude has prevailed of late and I believe the organisation now makes sound decisions. More importantly the organisation remains independent and free from political interference and industry lobbying. The BBFC has a wealth of resources available on its website and provides great detail about how it has arrived at a rating. They even go so far as to give readers spoiler warnings, when discussing the content of a movie. Strong language, drug use and violence as well as adult themes are listed if they feature in the film.
As a parent that has raised a child, I applaud such rigour and in-depth information. Being a movie fan, I have always had an immense love of cinema. Naturally my son was exposed to a lot of films while growing up. However personal fandom was never allowed to trump common sense and both my wife and I always took time to consider the suitability of any material we watched with our son. It is something I encourage all parents to do. Ratings are there to inform and an assist. We currently live in an age where there is a wealth of information available. Therefore making an informed decision about family viewing need not be difficult.
Sadly despite the wealth of resources available parents still remain oblivious to ratings and I have often seen children in theatres watching movies that are patently unsuitable for them. Furthermore they are frequently distressed and I do wonder about the long term harm that can be done by such ill-considered parenting. Two such examples from 2015 were Jurassic World and SPECTRE. On both occasions I sat next to families with children under the age of ten who were far from happy about certain scenes. It should be noted that both these movies were rated 12A which is broadly equivalent to the US PG-13 rating. In recent years, it has become the most common rating in the UK film industry and potentially the most misunderstood.
The most common problem associated with the UK 12A rating, is the fact that is an advisory rating. According to the BBFC website “Films classified 12A and video works classified 12 contain material that is not generally suitable for children aged under 12. No one younger than 12 may see a 12A film in a cinema unless accompanied by an adult. Adults planning to take a child under 12 to view a 12A film should consider whether the film is suitable for that child”. Therefore, as a parent, if you’re planning to take children under the age of 12 to see a movie such as Kong: Skull Island, it is incumbent upon you to determine if the film is suitable and whether the child in question is mature enough to enjoy the film without becoming upset or distressed. The 12A rating is not by default a guarantee that a movie is child friendly, nor does it mean that the movie in question is exclusively marketed towards children per se.
At present mainstream film making loves the PG-13/12A rating. It makes a film accessible to the broadest of audiences, thus maximising box office takings, while still accommodating a degree of sex, violence and strong language. The rating can also encompass a variety of adult themes and material that is dour, bleak and even threatening. This is specifically why the advisory nature of the rating needs to be acted upon. Just because younger children can be admitted to see films with this rating, doesn’t by default mean that they should. Cinema, like TV should not be used as a convenient babysitting service. Perhaps some parents would be wise to reflect upon this and take more time to research a movie before allowing their children to watch it. The BBFC website like so many others can be easily accessed by phone. Continued failure by lax parents to adhere to rating correctly, could potentially lead to a more draconian system being implemented.
Running Around Shooting Things
I took advantage of the current summer sales and pre-ordered the next instalment of Call of Duty, succinctly named WWII, due to be released in Autumn. After straying far from the established model, it’s nice to see CoD returning to its roots. The Second World War is a tried and tested formula and will no doubt be well received by fans of the franchise. As I have said before, COD is not a revolutionary product and as far as I know has never claimed to be. It provides a standard formula with sufficient variation, which is commercially viable and demonstrably popular. Those gamers that constantly rail against these games are on a hiding to nothing. You might as well complain about pop music being mainstream and accessible.
I took advantage of the current summer sales and pre-ordered the next instalment of Call of Duty, succinctly named WWII, due to be released in Autumn. After straying far from the established model, it’s nice to see CoD returning to its roots. The Second World War is a tried and tested formula and will no doubt be well received by fans of the franchise. As I have said before, COD is not a revolutionary product and as far as I know has never claimed to be. It provides a standard formula with sufficient variation, which is commercially viable and demonstrably popular. Those gamers that constantly rail against these games are on a hiding to nothing. You might as well complain about pop music being mainstream and accessible.
Over the years I played numerous FPS franchises such as Doom, Quake and Battlefield. Recently I’ve strayed in to cooperative variants such as Overwatch and For Honor. They all have their respective merits and downsides. But they all have to be offset against my relative lack of skill with the FPS genre. Map familiarity, optimising your load out and effective tactics are required skills if you want to get the most from the games. Skills that I lack. As a result, many of these titles have never fully satisfied me and lived up to the frenetic experience that the marketing depicted. However, COD, particularly the Treyarch produced instalments, have not fallen into this category.
The barriers to success are lower due to the mechanics of the game. Weapons physics and map designs are less esoteric and there is also an opportunity for luck. Even the most myopic of players will be presented with a chance to get kill sooner or later, even if it is simply by a player spawning in front of you. What some see as dumbing down is the foundation of the games appeal. For those that want a more challenging experience there are harder game modes. But for those that don't want a strict learning curve or the intricacies of more sophisticated games, COD provides a quick fix. There is also the offline multiplayer option in some instalment for those who wish to play against bots.
I have spent time in various incarnations of Battlefield where the multiplayer experience has been very good. But that has often been dependent on the server I was playing on. I have also had times when endless running across the map only to be shot the moment I arrived at the action, became very trying. The way certain players monopolise some of the vehicles is also a pain at times. Simply put, being a poor player inhibits your enjoyment of the game. With CoD, this simply doesn't arise as often. You may at times chance across some tedious troll but this can be addressed with the judicious use of the mute button. Overall you can jump into the action and quickly start enjoying the game without having to think to hard or worry about tactics. Overwatch has a similar accessibility about it. If you desire a greater challenge you can always find it with the variety of options these games offer.
The FPS genre provides a variety of products, catering to a broad range of tastes. Each has its place in the market and arguing that one is better than another seems as senseless to me as saying apples are better than oranges. There are times when I will knuckle down and attempt to up my game when playing something like Red Orchestra 2 Heroes of Stalingrad. It often helps in a more complex environment to be part of an organised team. On other occasions, I am happy to take a more leisurely approach because sometimes, all I want to do is run around and shoot things. It is then that I recapture that enjoyment I had when playing Unreal Tournament, back in 1999. Because isn't having fun what gaming is supposed to be about?
What’s My Age Again?
As I’ve mentioned in previous posts, I am a child of the seventies. I was born in late 1967 so my most formative years were from about 1973 onwards. I really don’t remember a great deal of things prior to the age of five. Does anyone? Now the thing about the seventies is that in many ways it was a transitional decade. It had one foot in firmly planted within the post war socio-economic and cultural norms. The other was set in the new era of societal change that came about during the Sixties. Hence, I was raised with a mixture of both old school and modern values, ethics and ideologies. I believe these have provided me with a broad spectrum of “soft skills” (a term I abhor but it serves a purpose in this instance) that have been beneficial.
As I’ve mentioned in previous posts, I am a child of the seventies. I was born in late 1967 so my most formative years were from about 1973 onwards. I really don’t remember a great deal of things prior to the age of five. Does anyone? Now the thing about the seventies is that in many ways it was a transitional decade. It had one foot in firmly planted within the post war socio-economic and cultural norms. The other was set in the new era of societal change that came about during the Sixties. Hence, I was raised with a mixture of both old school and modern values, ethics and ideologies. I believe these have provided me with a broad spectrum of “soft skills” (a term I abhor but it serves a purpose in this instance) that have been beneficial.
As I approach the sober age of fifty, I have reflected a great deal upon my own world view and that of my fellow countrymen. In this instance, I’m using the catchall term world view to bundle together thorny issues such as politics, international diplomacy, crime and punishment. Also, let’s throw in prevailing public morals, social etiquette and manners. The reason I’ve placed all these in a figurative “bag” because it then makes it easier to broadly explore them. And the reason I wish to do this is because I feel there has been a major cultural shift in all of these and that the UK no longer has a prevailing consensus regarding many of these points.
The last few years have demonstrated that the UK is a divided country; politically, economically and socially. There are a broad spectrum of opinions and views abroad in the land and a lot of anger too. The latter is often unfocused, and in certain quarters is based upon perceptions and feelings rather than tangible facts. Frequently, I will read things via social media or traditional newsprint and find myself confronted with ideas, concepts and feelings that are utterly alien to my way of thinking. Now I’m more than capable of accepting the notion that other people may well hold differing views to me. I’m sufficiently old fashioned to even go as far as to believe fervently in their right to do so. However, what I struggle with at present is the binary nature of so many ardently held views. There is no scope for debate, accommodation or compromise, which are the underpinnings, for better or for worse, of any functioning democracy. You are either for or against. Part of the solution or part of the problem. Enlightened or a traitor. And don’t go thinking you can dodge this intellectual cul-de-sac by sitting on the fence. Not having an opinion is just as much of a crime as having a differing view.
I care for my parents, both of whom are in their late eighties. I live in an affluent, white middle-class, London suburb with a high proportion of elderly residents. By that I mean people who have retired and draw their pension. Therefore, every day at shops, clinics and bus stops, I am directly and indirectly exposed to the world views of this socio-economic group. A generation that grew up when the UK still had an empire and was a world power. A time when the country had a more clearly defined class system and set of consensual morals and prevailing social norms. Religion and faith were strong influences upon society. Multiculturalism was an abstract principle and anything other than heterosexuality was “wrong”. Jobs for life existed, along with final salary pensions and affordable housing. IE Homes that could be bought on a single income because they only cost four or five times your annual salary. This is also the generation that had a cultural predisposition towards deference to authority, tradition and maintaining the status quo.
Because of these factors and possibly many others, this stratum of society tends to have somewhat fixed views and are often discombobulated by the pace of modern life and much of the social change that has happened of late. There is a tendency to look back at the past romantically rather than objectively. Views and opinions from such quarters are often shaped by feelings rather than critical thinking. Now it is not my intent to demonise this particular generation, nor undermine their achievements. I merely seek to highlight that their prevailing world view has been shaped by the politics and culture of the post war years and that it is not necessarily a stance that makes them well equipped to deal with the ongoing global changes that well all now face. One can cogently argue that Brexit and other recent political events are driven by a resistance to globalisation and social advancement. However, such pushback doesn’t halt change. It merely postpones or temporarily redirects it.
My son and his wife are both under twenty-five. They have permanent jobs with as stable an employer you can find at present. Through fiscal prudence and good fortune, they are currently on the property ladder. In these respects, they are very similar to their grandparents and great grandparents. However, when it comes to politics and other mainstream social and economic opinions they have very different outlooks. Traditional party politics and ideologies are not favourably viewed. They’re seen as being outdated, inflexible and inward looking. Pride in one’s country is still present but is not blindly given and is tempered by historical perspective. Equality in all walks of life is embraced and seldom seen as an issue. International travel for both leisure and work, provides a different view of the world, borders and freedom of movement. National rivalries and entrenched tribalism are simply irrelevant to the young because they lack the historical baggage that their elders insist upon carrying.
Being the age that I am, there are some superficial habits, trends and affectations embraced by the young that I don’t immediately warm to. For example, internet culture and ideas of privacy can be very different. Easy access to credit is something I never had in my youth. I do worry about its proliferation and the impact it has on those born into such a world. Yet broadly speaking the young give me hope. Despite my grouchy demeanour I don’t regard them as whippersnappers. They are often compassionate and motivated. They have no interested in the bloviations of tribal politics. They expect solutions from all politicians, over and above party loyalties. They embrace equality and see beyond the confines of their own geographical borders. And most importantly, they are not yet jaded and cynical. Thus, they are not hamstrung by preconceptions that things can’t change. They dare to dream because life, or more to the point other people, haven’t yet shot them down in flames.
So, as I approach half a century and the world around me becomes increasingly binary, I look at the older generation and their current world view and reluctantly conclude that I cannot condone it. We need to look forward and not backwards. The past can never be restored and nostalgia seldom accurately reflects what actually transpired. Therefore, it is with the young that I believe that I have more in common. Because the world we are shaping now, they will have to endure long after we’ve gone. To ignore their wishes, hopes and aspirations is at the very least selfish and at worst a malevolent act of betrayal. Sadly, I don’t think this is a broadly accepted view at present. The under twenty-fives are simply seen as another subset of the electorate to be courted, rather than as potentially the most important sector of society. History sadly has a habit of repeating itself. Cicero wrote ““Times are bad. Children no longer obey their parents, and everyone is writing a book". That was over two thousand years ago. Can our divided country move forward with any sort of unity or are we destined to pull in different directions until time simply eliminates certain world views?
NB: Due to the nature of this post I couldn't think of any specific images that were relevant. So I decided to use some fun ones just to break up the text.
Mrs. Brown, You've Got a Lovely Daughter (1968)
I was channel surfing a while back when I stumbled across Mrs. Brown, You've Got a Lovely Daughter, a feature film starring none other than Herman's Hermits! Now I was aware that after the success of the Fab Four's A Hard Day’s Night and Help, several popular bands tried to follow in their wake. The Dave Clark Five made Catch Us If You Can (directed by John Boorman) and there were numerous vehicles for Cliff Richard. But apparently, Herman's Hermits were signed to MGM records in the US and it was standard marketing practice to make at least one feature film vehicle for their bestselling artists. Apparently, this included Hank Williams, Connie Francis and Roy Orbison although I’m not familiar with the movies they made. Hence there’s nothing really that unusual about this film’s existence.
I was channel surfing a while back when I stumbled across Mrs. Brown, You've Got a Lovely Daughter, a feature film starring none other than Herman's Hermits! Now I was aware that after the success of the Fab Four's A Hard Day’s Night and Help, several popular bands tried to follow in their wake. The Dave Clark Five made Catch Us If You Can (directed by John Boorman) and there were numerous vehicles for Cliff Richard. But apparently, Herman's Hermits were signed to MGM records in the US and it was standard marketing practice to make at least one feature film vehicle for their bestselling artists. Apparently, this included Hank Williams, Connie Francis and Roy Orbison although I’m not familiar with the movies they made. Hence there’s nothing really that unusual about this film’s existence.
So on to the plot. When Herman Tulley inherits his Grandfather's most prized possession, a greyhound named Mrs. Brown, he and his friends (Barry, Keith, Karl, and Derek) decide to make their fortune racing the dog. After the animal has won the Manchester heat of the National Greyhound Derby, Herman meets wealthy Londoners Mr. and Mrs. Brown and their daughter Judy, a model. Hoping to see Judy again, Herman and his friends decide to take the dog to London for the derby finals and to see if they can find fame with their band. Hijinks, misadventures and sundry shenanigans promptly ensue, along with a handful of contrived song and dance numbers. You know the form.
Sounds harmless enough, doesn't it? Well so you would think. But the plot doesn't follow the usual path you'd expect from such films. The hero doesn't get the girl of his dreams at the end. The dog doesn't win the race it's been entered for. The guys do not find fame with their band. The songs are very eclectic, with one, "The World Is for the Young" verging on suicidal melancholy. There are also some seriously outdated social attitudes displayed, particularly towards women. A young lady is told that if she doesn't stop following them (the band) she'll get "sloshed". When Herman's girlfriend expresses and interest in accompanying them to London, she is told that it's fine as long as she doesn't mind "Cooking and cleaning for five guys". There is also a lot of violent pub brawls and market fights that seem out of step with the rest of the film.
Frankly, this film really threw me. It's just so bizarre and incongruous. The concept of using a film to promote a band seems to have died out these days. I'm sure this comes down to simple financial costs and the fragmentation of the music industry. The last movie of this ilk that I’m familiar with being Spice World and that was an event for the time. Overall, Mrs. Brown, You've Got a Lovely Daughter is not a complete dog’s dinner. It’s more of a curiosity than an outright failure, right up there with Slade in Flame. It’s lack of the inherent “chumminess” you expect with sixties pop is its main selling point. Best recommended to completist music fans and hardcore cinema aficionados. File under "Right turn, Clyde".
Skyline (2010)
When I first saw the initial trailers for Skyline, I was not overly impressed. Once again, here was a film that appeared to offer a great deal of spectacle but was there any substance? Would there be a good script, engaging performances, likeable characters? Call me old fashioned but I do consider these to be important attributes to any film. Well I finally caught up with Skyline, in the comfort of my own lounge, an environment that is often more forgiving that the cinema itself. As I suspected, Skyline turned out exactly as I predicted and once again I was left thinking "so what?" It’s an all too common refrain these days.
When I first saw the initial trailers for Skyline, I was not overly impressed. Once again, here was a film that appeared to offer a great deal of spectacle but was there any substance? Would there be a good script, engaging performances, likeable characters? Call me old fashioned but I do consider these to be important attributes to any film. Well I finally caught up with Skyline, in the comfort of my own lounge, an environment that is often more forgiving that the cinema itself. As I suspected, Skyline turned out exactly as I predicted and once again I was left thinking "so what?" It’s an all too common refrain these days.
Skyline is technically well made. The film opens with a startling event, then lapses into flashback to introduce the characters and set the scene. The story exposition is executed efficiently and within fifteen minutes the film moves on to the action. The cast, drawn mainly from a TV background are competent. These include Eric Balfour, Scottie Thompson and Donald Faisson. The story follows a traditional arc climaxing in what the writers obviously consider a twist. The ending leaves the door firmly open for a sequel should the need arise (Alleged a second movie is being considered starring Iko Uwais). The visual effects are very high quality but they did constitute over 90% of the films overall budget.
Despite all the above, Skyline is derivative, clichéd, predictable and utterly disposable. It is not dull but conversely it is not especially engaging. You can happily watch it whilst performing another task such as gaming, reading or plucking a chicken. The characters are not unlikeable as they were in Cloverfield but they are not sufficiently developed to merit any serious emotional investment. For instance, David Zayas plays an intriguing concierge who seems to be the only practical member of the group. Yet his back story is never explored and apart from a pithy "kiss off" line, his role doesn't really go anywhere.
Directors of Skyline, The Brothers Strause, have a technical background in the industry and own the visual FX studio Hydraulx. Their pedigree in this field speaks for itself. Yet ninety minutes of CGI does not a good film make. Frankly, the proliferation of visual effects in films, TV and advertising these days has somewhat jaded the public's attitude to them. Although they are an expected facet of any production, they are paradoxically diminishing as a major point of interest. How many times have we seen a major US city demolished. In the seventies, this was a rare event but now days it’s as common as politicians lies. Apart from Mad Max: Fury Road, I cannot think of any recent film that got by mainly because of its visuals.
In many respects Skyline is like a fifties B film. It tries very hard to follow the path of larger budget predecessors. You only have to look at the imagery that is used, such as the spaceships over Los Angeles or the squid like harvesting drones. The familiarity of these visuals reflects a sort of cinematic fast food culture. Sadly, it has the same overall results. After an innocuous viewing experience akin to a drive-thru meal, the audience soon forgets the inherently bland movie experience they’ve just partaken off. Without the substance of a genuinely good script or an original idea, alleged big spectacles, such as Skyline, become no more than a hollow one.
Train to Busan (2016)
The horror genre has more than its fair share of bad movies. It’s the nature of the beast (no pun intended). Films of this type can be made quickly and cheaply but have the potential to make a tidy profit. Therefore, they attract not only burgeoning talent but those bereft of any as well. Furthermore, traditional formulas work, so any new innovative production is often followed by a wealth of copycats and knockoff films. To say that the genre is self-plagiarising is an understatement. Yet, from time to time, horror movies can surpass mainstream cinema with regard to social commentary, satire and intelligent adult narratives. Look no further than Dawn of the Dead, The Thing and The Descent if you want three solid examples. Horror is a versatile and malleable genre that can facilitate great stories and reflections upon the human condition.
The horror genre has more than its fair share of bad movies. It’s the nature of the beast (no pun intended). Films of this type can be made quickly and cheaply but have the potential to make a tidy profit. Therefore, they attract not only burgeoning talent but those bereft of any as well. Furthermore, traditional formulas work, so any new innovative production is often followed by a wealth of copycats and knockoff films. To say that the genre is self-plagiarising is an understatement. Yet, from time to time, horror movies can surpass mainstream cinema with regard to social commentary, satire and intelligent adult narratives. Look no further than Dawn of the Dead, The Thing and The Descent if you want three solid examples. Horror is a versatile and malleable genre that can facilitate great stories and reflections upon the human condition.
Although Train to Busan starts with a very tried and tested premise, it quickly establishes itself as more than just a standard horror offering. The emphasis is upon characters with credible foibles and traits. The film presents us with an interesting overview of South Korean socio-economic culture. Class, etiquette and morality are all touched upon in the screenplay but organically, not clumsily. Nor are viewers bludgeoned with any obvious social messages. What the film does well is show us how humans deal with adversity and come to terms with extraordinary circumstances. Unlike so many US horror movies, the protagonists are not obnoxious and as the cast is inevitably culled over the course of the film, we genuinely mourn each loss. Another interesting cultural difference is how the disposal of zombies becomes more complex when firearms are not common place.
Like so many zombie movies, the most engaging scenes are those that happen as the emerging apocalypse unfolds. Despite living in a world surrounded by the media, it’s fascinating how we can remain oblivious while being immersed in it. Something else that Train to Busan does very well is accurately catalogue human reactions to the totally incongruous. Often passengers look on utterly dumfounded, as zombies bite into people’s neck. However, once the magnitude of the situation finally registers, the passengers are innovative as they seek to save themselves. Wet newspaper is stuck on the windows to obscure them. Cell phone ringtones are used to distract the undead.
There are obvious stylistic similarities between Train to Busan and World War Z. The fast moving, aggressive zombies that transform their prey in seconds are again seen in this film. However, director Yeon Sang-ho does more with his smaller budget, making his undead horde far more threatening than the boiling CGI-fest of Word War Z. The zombies in this instance go semi dormant when cut off from the light. They are predominantly attracted to sound and seem to have lost most of their higher reasoning abilities. A closed sliding door is enough to outwit them and they do not use tools or their environment to their advantage. Train to Busan although tense and atmospheric, is not excessively gory. There are blood spurts and the bone crunching zombie transformations are ghoulish but the film does not rely on the extremely grotesque. Tension stems from the viewers concern for the casts wellbeing.
Performances are universally good in Train to Busan, although it would be remiss of me not to single out Kim Su-an as Soo-an. This young actress acquits herself extremely well as the young daughter of work obsessed fund manager. The film takes several bleak turns during the course of its story and I was concerned that it may end in a downbeat manner, similar to Romero’s Night of the Living Dead. However, the final resolution to the tale is poignant and certainly within the idiom of the proceeding one hundred minutes. Overall Train to Busan is an infinitely superior genre outing than most contemporary US mainstream horror films. It is engaging due to its international setting, moral integrity and cultural differences. Sadly, all these positive aspects will more than likely be lost when the US remake is released in 2018.
World War Z Unrated Cut (2013)
World War Z Unrated Cut runs seven minutes longer than the theatrical version of the movie and contains "intense footage not shown in theaters". The material consists of more violent alternative takes of existing action scenes and features mainly CGI effects work. There is no additional plot, although there may be some nominal changes to dialogue. Overall the unrated cut is an improvement over the theatrical print in so far it offers a more traditional zombie movie experience. However, compared to other examples of the genre, the unrated version of World War Z still remains relatively sedate in terms of violence. The movie focuses on the scale of the zombie outbreak, rather than the visceral mayhem of a George Romero film.
World War Z Unrated Cut runs seven minutes longer than the theatrical version of the movie and contains "intense footage not shown in theaters". The material consists of more violent alternative takes of existing action scenes and features mainly CGI effects work. There is no additional plot, although there may be some nominal changes to dialogue. Overall the unrated cut is an improvement over the theatrical print in so far it offers a more traditional zombie movie experience. However, compared to other examples of the genre, the unrated version of World War Z still remains relatively sedate in terms of violence. The movie focuses on the scale of the zombie outbreak, rather than the visceral mayhem of a George Romero film.
I thought it may be useful to post a selection of screen captures highlighting the major differences between the two versions of World War Z. Again, it is not in any way a comprehensive list but it broadly shows the major differences. If you require further details Movie-Censorship.com has produced a more thorough breakdown. My original opinion of the film itself still stands. World War Z is flawed but has good performances and explores some interesting concepts. The unrated cut of the movie certainly addresses one of the many criticisms levelled at the PG-13 theatrical release; namely that it was too tame. If you have yet to see World War Z, then this is the cut of the film I would recommend.
During the initial zombie outbreak in Philadelphia, we see more blood when people are bitten. Unfortunately, due to the colour palette that is currently in vogue with many film makers it is still not very clear.
Gerry shoots a zombie in the head while trying to find safety in the tenements of Newark. It is the only major head shot depicted in the movie.
Gerry is covered in more blood from the zombie he bayoneted in the stairwell.
In the unrated cut the camera clearly shows that it is Tommy that shoots the zombie attacking Gerry.
When Fassbach trips and accidentally shoots himself, we see the aftermath more clearly.
The imprisoned CIA operative pulls out one of his front teeth, while explaining how North Korea did this to its entire population in twenty four hours, to prevent the spread of the disease.
He then adds the tooth to a collection of others he has removed.
As the zombies overrun Jerusalem, we see more bullet hits as they are shot by Israeli soldiers.
Most of the gunshot wounds have been added in post production by CGI.
When an Israeli soldier uses his grenade, we see more explicit carnage caused by the explosion.
Further CGI blood and gunshot wounds are seen as the zombies are shot through the closed gate and railings.
A further grenade explosion shows more destruction to the zombies.
Segen's hand amputation is more graphic. Unlike the theatrical print it is obvious what Gerry has done.
Gerry binds Segen's wrist and waits to see if she becomes infected or not.
The zombie attack aboard the plane has a lot more CGI blood when victims are bitten.
Again due to lighting and editing, even the more explicit scenes are difficult to see clearly.
Another victim is bitten, prior to the plane explosively decompressing due to a grenade explosion.
Gerry's impalement injury is shown more clearly.
Gerry dodges the attacking zombie and hits it at the base of the spine with a crowbar.
He subsequently stamps on the zombie's face, crushing it.
LOTRO: High Elf Preview
I was more than a little surprised when Standing Stone Games announced the addition of a new race coming to LOTRO. As Elves are already a popular option in the game, I really didn’t see any merit in adding a subtle variation of them, with High Elves. However, as I had time this weekend, I thought I’d take a look at the new introduction for this race, that is currently available for preview on the Bullroarer test server. Like all races in LOTRO, there is a bespoke opening quest line, that orientates players and provides a degree of lore and backstory. Although aspects of the High Elf race are yet to be completed such as the character visualisation, the introduction is in place and has a rather unique narrative compared to the rest of LOTRO.
I was more than a little surprised when Standing Stone Games announced the addition of a new race coming to LOTRO. As Elves are already a popular option in the game, I really didn’t see any merit in adding a subtle variation of them, with High Elves. However, as I had time this weekend, I thought I’d take a look at the new introduction for this race, that is currently available for preview on the Bullroarer test server. Like all races in LOTRO, there is a bespoke opening quest line, that orientates players and provides a degree of lore and backstory. Although aspects of the High Elf race are yet to be completed such as the character visualisation, the introduction is in place and has a rather unique narrative compared to the rest of LOTRO.
After creating your High Elf character and choosing a suitable name, the action moves to The Battle of Dagorlad, during the end of the Second Age. As part of the Last Alliance and in true LOTRO fashion, you find yourself running errands for none other than Gil-galad himself. This presents an opportunity to name check a lot of iconic characters from Tolkien’s work and certainly provides an interesting story line. High Elves have at present some curious parkour style animations when running and jumping. It actually seems quite fitting, considering the physical and tactical abilities of the race. It should also be noted that your character is at level 110 at this point in the proceedings.
SPOILER ALERT:
Now this is where things get curious. SSG have had to find a suitable plot device to bring your character from SA 3434, to a TA 3001. A passage of time of about three thousand plus years. I must admit, I did laugh out loud at the temerity of their solution. Effectively, your character is stabbed with a Morgul blade with the intent of turning them into a minor wraith. However, you’re rescued and brought to Imladris and healed by Elrond. Due to the severity of your wound, you’ve been convalescing in an Elven coma all this time. Overall, it works and does have a degree of plausibility but it’s all somewhat hokey and somewhat “Buck Rogers”. Furthermore, because your strength has been weakened by this experience, you’ve been reduced to an appropriate level for the starting zones of LOTRO.
Much to my surprise, I did enjoy this opening gambit for the High Elf race. Although it is unpolished in its current state, it is clear that some thought has been put into it. However, like the Beorning class that was introduced into the game in late 2014, once the initial excitement of the introduction has passed, you once again find yourself in the Ered Luin starter zone, forging through familiar territory. It’s a shame that SSG cannot maintain a slightly more customised story play through for each race, as Cryptic do with Star Trek Online. At present High Elves may only appeal to Elven enthusiasts and altoholic completists. In the meantime, I am looking forward to the next preview build to see the new facial options and ongoing refinements of the class.
LOTRO: Mordor Preview
I decided to take a look at the second Mordor preview today, that is currently available on Bullroarer test server. Due to technical issues, I could not initially log into the game. The game client stuck at installing “pre-reqs”. However, by the evening SSG had resolved the problem and I managed to successfully login and copy my level cap character from Laurelin. Access to Mordor is via a teleport horse at the Slag-Hills. As with Helm’s Deep and the Battle of the Pelennor fields, this system of transitioning between multiple phases set at different times, can be a little confusing. Irrespective of this, it was rather droll of SSG to have Boromir as the NPC that bestows access to the Mordor quest line. I subsequently spent several hours touring the region. This post is specifically about my initial impressions of the area and is not a critique of all the new features and systems.
I decided to take a look at the second Mordor preview today, that is currently available on Bullroarer test server. Due to technical issues, I could not initially log into the game. The game client stuck at installing “pre-reqs”. However, by the evening SSG had resolved the problem and I managed to successfully login and copy my level cap character from Laurelin. Access to Mordor is via a teleport horse at the Slag-Hills. As with Helm’s Deep and the Battle of the Pelennor fields, this system of transitioning between multiple phases set at different times, can be a little confusing. Irrespective of this, it was rather droll of SSG to have Boromir as the NPC that bestows access to the Mordor quest line. I subsequently spent several hours touring the region. This post is specifically about my initial impressions of the area and is not a critique of all the new features and systems.
The first thing that struck me about Mordor immediately after the fall of Sauron, was how dark and gloomy it was. I’m sure lore experts will correct me if I’m wrong but wasn’t the storm of Mordor supposed to dissipate after the ring was destroyed? I was hoping that the smoke and dust from the ruined Morannon would lift as I travelled into Udûn and beyond. Sadly, this was not the case. Mordor is dark, smokey and depending upon your monitor and graphics card, a strain on the eyes. I had to pull the curtains in my office to be able to see clearly. LOTRO has several other regions that have low lighting and are dismal; Moria and Angmar. However, visibility is still sufficient to navigate. Mordor is very much like Mirkwood, as in it’s not just dark but blurry.
Standing Stone Games have a lot of placeholder NPCs at present. I found myself battling a Blackwold Ruffian at one point, which was somewhat incongruous. But as the expansion is work in progress one has to expect such workarounds. The architecture of the region is in the same idiom of the Dagorlad and Angmar. It looks appropriate but a lot of assets are simply being reused. There are some new beasts roaming Gorgoroth, such as the Sulokil but most else are just variations on existing themea. Rock worms and fire drakes make a return, along with Fire Grims and Fumaroles. There is a swamp like region to the South East of Mount Doom and the area around Cirith Ungol is heavily populated by the Spawn of Ungoliant. Straying from the road or approaching enemy camps triggers the new Light of Eärendil/Shadow of Mordor system. This is a buff/debuff mechanic that isn’t fatal but does diminish your stats.
From what I have seen so far of Mordor, it certainly seems to fit the aesthetic described in Tolkien’s source text. Once you’ve initially gotten over the excitement of simply walking into Mordor, it really becomes apparent that SSG have provided more of the same. That’s not a bad thing per se. The formula has proven to work. Mordor will have some subtle differences from other zones in LOTRO and bespoke mechnics but it will ultimately have Epic and standard quests, rep factions and new items to obtain or craft. For me, the real test will be how engaging the narrative is, now we have stepped beyond the canonical story. The dark and oppressive nature of the new area may also be an obstacle for some players. I certainly do not see myself engaging in lengthy gameplay sessions as did in Northern Ithilien.
As of yet, SSG have not mentioned a price point for the Mordor expansion. They’ve also not yet clarified some details regarding various new game mechanics. The allegiance system for example seems to be an advance variation of a reputation faction. There is also no news on alleged instance cluster and whether it will be included in the expansion or come after. The price may also be an issue. Although the overall Mordor map looks big, much of it is a rocky barren wasteland. I hope the areas to the South of the Sea of Núrnen are more temperate, as these are supposed to be fertile and the bread basket of Mordor. I do not want to pay an excessive amount for a potentially un-diverse region. Hopefully further information will be forthcoming shortly.
I remain for the present, relatively optimistic about this pending expansion as we’ve not had one for several years. It should be remembered that not every LOTRO player has level cap characters, so for them there is no immediate need to buy more endgame content. The introduction of a new race is therefore an interesting development and I shall write more about this in my next blog post. It’s appeal to altoholics is a practical source of revenue for SSG. I’m also looking forward to the revised character animations and aesthetics. LOTRO was never cutting edge with regards to its avatars so an overhaul is more than welcome in my opinion. In the meantime while we await more news and a third test build, here is a small gallery of screen captures taken throughout Mordor today. Please note I have adjusted the brightness, as they were incredibly dark.
Classic Movie Themes: Mackenna's Gold
Mackenna's Gold is a perfect example of the Western at its most decadent. Made at a time when the genre was becoming increasingly tired and facing strong competition from the Italian market, Hollywood decided that the way to renew public interest was to turn everything up to eleven and turn the Western into a multimillion dollar spectacle. The movie cost Columbia Pictures $14 million in 1969 and boasted an all-star cast, as well as action and special effects. However, it was not a smooth production and the studio seemed to get cold feet prior to its release. The Three hour running time was reduced to one hundred and twenty-eight minutes, leaving the final cut feeling somewhat uneven. Overall, the public were indifferent and the box office takings were low.
Mackenna's Gold is a perfect example of the Western at its most decadent. Made at a time when the genre was becoming increasingly tired and facing strong competition from the Italian market, Hollywood decided that the way to renew public interest was to turn everything up to eleven and turn the Western into a multimillion dollar spectacle. The movie cost Columbia Pictures $14 million in 1969 and boasted an all-star cast, as well as action and special effects. However, it was not a smooth production and the studio seemed to get cold feet prior to its release. The Three hour running time was reduced to one hundred and twenty-eight minutes, leaving the final cut feeling somewhat uneven. Overall, the public were indifferent and the box office takings were low.
Despite the movies flaws there is still much to like about Mackenna's Gold, although one’s enjoyment is frequently linked to the preposterous nature of the screenplay and the varying quality of the visual effects. One such aspect is the rather cool and groovy soundtrack by Quincy Jones. It has all his usual hallmarks such as crescendo's and tone colour shifts. Even within the confines of the Western idiom he manages to include a hint of his jazz and blues roots. The movie also features Jose Feliciano singing "Ole Turkey Buzzard", a song that re-occurs throughout the film. The cautionary lyrics regarding men killing each other in their lust for gold, mirror the on-screen story and change as the narrative progresses. It's catchy nature and somewhat incongruous inclusion in the movie’s score has earned it a somewhat cult reputation.
Gaming and Semantics
Language is an evolutionary thing. It changes over time, reflecting the needs of the culture that use it. Furthermore, each unique sub-set of society seems to create and utilise its own bespoke lexicon. From business, science, politics, religion, to sports and other leisure activities, all use terminology that is pertinent to their own group. Overtime some of these terms crossover from one niche to another to eventually find broad mainstream acceptance. It is a fascinating process and one I think has accelerated in recent years due to the growth of social media.
Language is an evolutionary thing. It changes over time, reflecting the needs of the culture that use it. Furthermore, each unique sub-set of society seems to create and utilise its own bespoke lexicon. From business, science, politics, religion, to sports and other leisure activities, all use terminology that is pertinent to their own group. Overtime some of these terms crossover from one niche to another to eventually find broad mainstream acceptance. It is a fascinating process and one I think has accelerated in recent years due to the growth of social media.
Gaming as a culture typifies this linguistic trend, although some terms are ambiguous and not clearly defined. This subsequently leads to skewed debates and discussion, as there is not mutually agreed frame of reference or definition. Furthermore, when discussing wider issues such as game content, particularly political or social themes, there is often a great deal of pejorative terms and ill-conceived labels bandied about, which are used not to describe but to discredit. This seems to reflect the increasingly bi-partisan nature of all public debates these days, especially politics. Sadly, such language taints the gaming community and damages its reputation.
Something that comes up habitually is the term "carebear". Initially this was a term that was jokingly employed to describe players that preferred the social interaction of PVE content and avoided player versus player gameplay. Now it seems to be a routine epithet to negatively label anyone who doesn't advocate any of the competitive aspects of gaming. If you do not like PVP, or end-game raiding, warzones, skirmishes or the like you are a "carebear". The implication being that caring and compassion are negative things and potentially a sign of weakness. It’s a blanket term design to belittle and standard ammunition in ad hominem attacks.
During the seventies, UK national politics was extremely binary. The right was focused on privatisation, small government and the free market. The left advocated the welfare state, social responsibility and equality. It was during this period that I first became aware of the term "do gooder"; a term broadly meaning a well-meaning but unrealistic or interfering philanthropist or reformer. Yet overtime it simple degenerated into a pejorative label for anyone who's politics were not sufficiently right wing. Any sort of policy that advocated fairness or parity was lambasted with this term, to the point where it became nothing but a vacuous buzz word. The reason I mention this is because the exactly the same thing is happening today with the trite label "social justice warrior".
Like social and political controversies, gaming debates usually grind to a halt under the weight of these pejorative terms. Any sort of meaningful and mature discourse is obscured under a swath of pointless and ultimately meaningless buzzwords. "Feminazi", "delicate snowflake","filthy casual gamer" and other such names are bandied about, dragging the debate away from a level playing field and into the playground. Combine this sort of rhetoric with the prevailing mindset that eschews reason, critical thinking and the scope to disagree in a civil fashion and all rational discussion ends. The winner is simply those who shout loudest. History has shown us that such groups are seldom the best informed.
When this sort of philosophy prevails it ultimately does more harm than good. Sadly, at present, too many gamers are so busy indulging in territorial pissing that they are oblivious to the fact that they are befouling their own waterhole. It's only a matter of time before the well is truly poisoned. If gaming culture genuinely wants to improve for everyone's benefits then it needs start thinking. That begins with the language that we use towards each other. The alternative is to continue down the current road and let those who want to watch Rome burn, do so to the detriment of all. In the meantime, there will be those that disassociate themselves from the mainstream and set up isolated safe havens for likeminded gamers. However, that doesn't really fix the long-term problems. Are smaller more fragmented markets and communities ultimately good for gaming?
Dark City: Director's Cut (1998)
There are many directors who have cut their teeth working in the music industry. They have often fashioned their cinematic style and technique from the music videos they’ve made. Unfortunately, I am not a fan of this school of movie making. McG, for example represents to me the epitome of style over substance. I also detest this current trend for fast editing. It may well be pertinent for the music industry but I believe it is to the detriment of the narrative cinema. But there is one director from this background who has risen above his roots and exhibits true creative talent and a fundamental grasp of film. Alex Proyas, director of The Crow and I, Robot.
There are many directors who have cut their teeth working in the music industry. They have often fashioned their cinematic style and technique from the music videos they’ve made. Unfortunately, I am not a fan of this school of movie making. McG, for example represents to me the epitome of style over substance. I also detest this current trend for fast editing. It may well be pertinent for the music industry but I believe it is to the detriment of the narrative cinema. But there is one director from this background who has risen above his roots and exhibits true creative talent and a fundamental grasp of film. Alex Proyas, director of The Crow and I, Robot.
Dark City is an often-overlooked film, lost in the wake of the media hype surrounding The Matrix. Both have plot similarities and common themes. However, Dark City displays a deeper level of thought which is perhaps t why it lost favour with mainstream audiences not adequately equipped for its cerebral rigour. There is also a lack of a mainstream A list actor. Instead the film relies upon an international cast of established character actors. In 2008, director Alex Proyas re-edited the film, removing the original opening narration, adding additional material and some extra FX footage. The results are quite startling and have had quite an impact on the way the story is presented and which themes and motifs are emphasised.
Dark City starts off as a stylised film noir, with Rufus Sewel waking up in a motel with a dead prostitute. He's soon on the run from hard boiled cop, William Hurt. Can he trust his estranged wife Jennifer Connelly? Is he really mentally ill as his Doctor (Kiefer Sutherland) describes or is there something more sinister going on? Who are the trio of tall strangers dressed in black, who are pursuing him over the ersatz 1950s city? A postcard hints at possible clues that can be found at shell beach, an out of town resort. But despite being clearly sign posted, no underground train seems to go there. Matters just seem to get stranger, as peoples identities change along with streets and buildings. Why is it perpetually night time? As the story soon descends into a disturbing dystopian nightmare it becomes clear that there are sinister forces at work.
This director's cut of Dark City, turns a flawed but accomplished film into one that finally reaches its full potential. The detective story soon gives way to darker plot elements and expands into a gothic vision. The final act reveals an intriguing science fiction style dénouement. To say more would spoil the plot for those who have yet to see it. Let it suffice to say that Dark City is one of a handful of movies that successfully straddles multiple genres. The production design is striking mixing expressionism, art nouveau and fifties Americana. The story is reminiscent of Philip K. Dick work and has more than a hint of Kafka about it.
The cast is very eclectic (and international), featuring the talents of Ian Richardson, Richard O' Brien, Colin Friels, Bruce Spence and even John Bluthal (Frank Pickles from The Vicar of Dibley). Trevor Jones provides an evocative soundtrack. Proyas directs stylishly with a good grasp for story and character. This new cut, removes the voice over at the beginning which clumsily telegraphed the plot and places a more nuanced focus on the initial mystery. The theme of awaking from a perceived reality into a bleaker and more sinister alternative one, as mentioned earlier draws comparisons with The Matrix. However, the messianic allegory of that film is exchanged here for a more Nietzschian subtext.
Dark City by its very nature was always destined to become a cult film. Yet it actually is more than that, working on several levels. It can be viewed as a baroque science fantasy film or as a deeper commentary on the shallow and contrived nature of modern society. It is certainly a visually arresting and thoughtful if sombre film. It is not excessively violent, though it is somewhat grotesque and brooding. The ending may spark a further debate when you consider the implications.
Secret World Legends
Writing a lengthy article as to why you don’t like a game is often a bad idea. It seldom makes for a good post unless you are humorous or have a cogent point to make. Often all the anger, bile and vitriol can be distilled down to the following. “I wanted X and they (the developers) gave me Y”. Its a simple question of differing expectations and personal taste. Well that is what we have here. Simply put, the changes made to The Secret World in its transition to Secret World Legends are insufficient for me to change my overall view of the game. Specifically, I still do not like the combat system and find the UI esoteric and unintuitive. It is easier to play the game now so theoretically I can soldier on to see the narrative that I previously missed. But I still have to endure an unsatisfactory fighting style to do this and that is a big enough hurdle for me to possibly conclude “it’s not worth it”.
Writing a lengthy article as to why you don’t like a game is often a bad idea. It seldom makes for a good post unless you are humorous or have a cogent point to make. Often all the anger, bile and vitriol can be distilled down to the following. “I wanted X and they (the developers) gave me Y”. Its a simple question of differing expectations and personal taste. Well that is what we have here. Simply put, the changes made to The Secret World in its transition to Secret World Legends are insufficient for me to change my overall view of the game. Specifically, I still do not like the combat system and find the UI esoteric and unintuitive. It is easier to play the game now so theoretically I can soldier on to see the narrative that I previously missed. But I still have to endure an unsatisfactory fighting style to do this and that is a big enough hurdle for me to possibly conclude “it’s not worth it”.
One of the things that attracted me to The Secret World when it was initially being beta tested was the idea of the supernatural being countered with modern technology. Thus, firearms were and remain my weapons of choice. However, combat was clunky and awkward at that stage in the games lifespan. I never got the sense that the assault rifle was doing any substantial damage and had to constantly back pedal to stay alive. It was dull and time consuming to clear mobs and make progress. Sadly, despite a streamlining of the combat system in Secret World Legends and a noticeable reduction of skills bloat, combat with pistols and the like, still feels woefully unsatisfying. Yes, foes do now die quicker and I now have a reticule to aim but that is about all that has changed.
What I expected, hoped for, wanted (and I accept the inherent fallacy of thinking in such terms with regards to gaming. After all you get what you’re given and nothing more) was a tangible gun mechanic. Something that felt substantial IE when you fire the gun the enemy took major damage, or recoiled, or at least gave the impression that this was inconvenient for them. However, the problem is where you can credibly scale the DPS of certain weapons or types of attack to suit an MMORPGs progression system, it’s far harder to do with the arbitrary functionality of guns. Firearms do damage per se, based on calibre and rate of fire. Scaling their damage to fit in with the games levelling system renders them tediously impotent at the initial stages of the game. This may come down to perception and they’re probably doing a comparable amount of damage to any other weapon type. But it just feels off and I don’t like wearing mobs down gradually with a pea-shooter.
So, I’ll try to look beyond this “obstacle” and see if I can muster up the interest to persevere with Secret World Legends in the next few days but there’s a fifty-fifty chance I’ll just get bored and move on to pastures new. Oh, and to address some of the inevitable comments one expects from the gaming cognoscenti, firstly, no I don’t want to try any other weapons. I chose guns for a reason. If there was something else I liked I would have picked them. Secondly, no I’m not saying that Secret World Legends is an awful game etc. I am simply highlighting that it has failed to “float my boat” and that comes down to a simple question of taste. As for catching up with the narrative, I’m sure I can probably watch all the relevant cutscenes on You Tube. It wouldn’t be the first time I’d done that to check out a game’s story, without having to go to the hassle of playing it.
Apollo 18 (2011)
A fundamental requirement of cinema is that the audience suspends their sense of disbelief. Anything that breaks this will immediately has a negative impact upon the viewing experience. There are many things can severe this connection but the two most common seem to be obvious plot holes and Scooby Doo behaviour IE “Let’s split up…”. If these are the result of simply poor film making, then they can perhaps be forgiven. Every director has to learn their craft. However, if these two factors are present by design, then that is an unpardonable sin. Assuming that your audience is stupid, is insulting and the worse sort of hypocrisy.
A fundamental requirement of cinema is that the audience suspends their sense of disbelief. Anything that breaks this will immediately has a negative impact upon the viewing experience. There are many things can severe this connection but the two most common seem to be obvious plot holes and Scooby Doo behaviour IE “Let’s split up…”. If these are the result of simply poor film making, then they can perhaps be forgiven. Every director has to learn their craft. However, if these two factors are present by design, then that is an unpardonable sin. Assuming that your audience is stupid, is insulting and the worse sort of hypocrisy.
Apollo 18 has a strong start for a movie built around the found footage concept. It plays very nicely into the current appetite for conspiracy theories. The first thirty minutes where we meet the cast and learn of their covert mission to place monitoring equipment on the moon, is credible and intriguing. The cold war setting and the post-Watergate back drop do a lot to fuel the narrative. During this initial third of the movie, Apollo 18 plays more like a political thriller rather than a sci-fi shocker. But then director Gonzalo Lopez-Gallego goes and jumps the shark and all the previous good work goes out the window. It’s a common problem with contemporary film making. I remember having exactly the same thoughts when I saw Paranormal Activity.
After a string of anomalous events a key character makes the most illogical leap of thought and as a result the credibility simply melts away. You see, I take the attitude that NASA astronauts are trained professional, hand picked because of their skills and analytical mindset. Maintaining rational under extreme circumstances must surely feature in their training. So, I simply do not buy into the idea that, because they’ve found an abandoned Russian Lunar Module, a dead cosmonaut, picked up radio interference, had the flag that they planted removed and found some unidentified marking in the lunar soil, naturally concluded that it must be extraterrestrials. Scientists simply do not think this way.
The rest of the film is arbitrary and derivative bug hunt, with obviously telegraphed jumps. The conclusion involving complicit government agencies is predictable and uninspired. This is a shame because the film is very well made from a technical perspective. But once again we have a production that demonstrates a clear understanding of visuals but not plot construction. Furthermore, Apollo 18 also seems to forget that it is a found footage movie, with scenes and dialogue that are contrived to be more cinematic and come dangerously close to breaking the fourth wall.
With reference to the plot holes, I unlike other critics was not particularly bothered about the nebulous nature of the alien life forms featured in the film. I am happy to watch movies without every answer being given to me on a plate. Life is seldom clear cut, is it? However, I do balk at the fundamental flaw that permeates Apollo 18. The film comprises of 16 mm & 35 mm cine footage along with video material from external cameras. Now the latter may well have been broadcasted and thus been received and recorded back on earth. But the cine film had to be collected and developed. Does the film not hinge on the premise that no mission has subsequently returned to the moon? Also, the Russian Lunar Module and US Command module where both destroyed, therefore eliminating any footage they may have had. No, this is simply bad screen writing and brings me neatly full circle to my original point that I started with.
PVP in MMOs
There has been an interesting debate this week about PVP in MMOs among several of my fellow bloggers. Syp AKA Justin Olivetti wrote an article for Massively OP referencing “gankbox culture” of EVE Online which then garnered a series of reciprocal posts from the likes of Bhagpuss, Jeromai, UltrViolet and Wilhelm Arcturus. Good points have been made by all but I think Bhaggie hit the nail on the proverbial head when he said that the term “PVP”, like so many in the gaming lexicon, is ill-defined. Player versus player can manifest itself in many forms, such as duels, arenas and zerg against zerg. Some games do offer an open world were players can be preyed upon or “ganked” but it is usually regulated to some degree. However, the thing that came out of this discussion that was of the most interest to me was why some people dislike PVP so much?
There has been an interesting debate this week about PVP in MMOs among several of my fellow bloggers. Syp AKA Justin Olivetti wrote an article for Massively OP referencing “gankbox culture” of EVE Online which then garnered a series of reciprocal posts from the likes of Bhagpuss, Jeromai, UltrViolet and Wilhelm Arcturus. Good points have been made by all but I think Bhaggie hit the nail on the proverbial head when he said that the term “PVP”, like so many in the gaming lexicon, is ill-defined. Player versus player can manifest itself in many forms, such as duels, arenas and zerg against zerg. Some games do offer an open world were players can be preyed upon or “ganked” but it is usually regulated to some degree. However, the thing that came out of this discussion that was of the most interest to me was why some people dislike PVP so much?
Cowardice, risk aversion and conflict-phobic are just some of the terms used by my blogging colleagues to explain as to why some players do not like PVP. Some have argued more simply that the mechanic is just a question of taste. However, I think it is more complex than that, as PVP isn’t a passive game mechanic like a buff or a DoT; something you endure due to the design of the game. PVP is another player impinging directly upon your gaming and I think this is the key to the issue. A lot of gamers do not like the idea of another individual having such a tangible impact upon their experience. Especially if there is nothing they can do to control it. The loss of items or experience is one objection but I believe the most fundamental issue is that no one likes being a victim.
I personally have no objection to the PVP mechanic in principle or its presence in MMOs. As long as its optional and consensual or in a bespoke zone then it can be an enjoyable gaming experience for those who pursue it. Duelling, competitive game play and league tables are legitimate modes of play and totally acceptable in other pastimes. Let us also dispel the myth that PVP is the exclusive province of sociopaths, malcontents and the dysfunctional. My experience of group PVP in games such as Overwatch, Battlefield or Call of Duty, has been broadly positive. Sadly, there is a certain type of person that spoils this overall experience and skews the wider reputation of PVP. A minority of players gravitate to this type of gameplay as it offers a platform for bullying and bragging. PVP is seen by some as a rite of passage and a means to bolster their self-esteem.
I play games for fun. Yes, I like a degree of challenge and to work towards specific goal but overall, they are a form of recreational entertainment. As in real life, I do not want to be inconvenienced by others or for them to have a negative impact upon my experience. I want to be segregated from those who could be potentially problematic and I wish to control as many of the variables as I can. Thus, I do not care for open world PVP, where I could be preyed upon at any time and lose items. Plus, another honest reason why I don’t pursue one on one PVP in MMOs, is that I don’t like losing. Who does? I prefer the safety of the zerg or being over powered. Let us not trot out these tired old arguments about “building character” or “it’s the taking part that counts” because neither hold up to close scrutiny.
There is another factor that impacts upon our attitude towards PVP and that is financial. Most games involve some sort of payment and the majority of players meet those costs at some point. As soon as money enters the equation, the dynamic of our gaming experience changes. Being a customer radically alters your perception of what is and what isn’t desirable. The loss of items and XP have a financial cost, as does the time spent earning them. The appeal of being “ganked” by someone and having to pay for the “experience” alludes me. However, we all ultimately view the world, gaming and thus PVP through the prism of our own experience. I’m sure there are bloggers whose opinions are the polar opposite of mine. As for PVP, I am happy for it to be part of gaming, as long as it is never forced or inflicted upon those who do not want it.
LOTRO 10th Anniversary: Remembering LOTRO Part 2
When reminiscing about LOTRO, there are many personal highlights for me to consider. Raiding in the Rift, completing the epic story in Shadows of Angmar, or even getting my first mount. Yet, if I had to pick a personal favourite experience, it would be the great charge across the River Anduin, into Mirkwood. This happened on Gilrain server on Monday 25th of Janurary 2010, the night before Siege of Mirkwood expansion was launched. An enterprising player by the name of Mikeemoo arranged the event via the forums and at the designated time a hundred plus players assembled on the Western bank of The Great River. Once the signal was given we swam en masse to the Eastern shore and swarmed up the bank into the woods. As the zone was not yet accessible the developers had placed NPCs in the vicinity; Mirkeves Fell Arrows that could one shot any player. However, due to the sheer number of players in the zerg and the resulting lag, many made it across. Eventually the server kicked everyone but it was immense fun while it lasted.
When reminiscing about LOTRO, there are many personal highlights for me to consider. Raiding in the Rift, completing the epic story in Shadows of Angmar, or even getting my first mount. Yet, if I had to pick a personal favourite experience, it would be the great charge across the River Anduin, into Mirkwood. This happened on Gilrain server on Monday 25th of Janurary 2010, the night before Siege of Mirkwood expansion was launched. An enterprising player by the name of Mikeemoo arranged the event via the forums and at the designated time a hundred plus players assembled on the Western bank of The Great River. Once the signal was given we swam en masse to the Eastern shore and swarmed up the bank into the woods. As the zone was not yet accessible the developers had placed NPCs in the vicinity; Mirkeves Fell Arrows that could one shot any player. However, due to the sheer number of players in the zerg and the resulting lag, many made it across. Eventually the server kicked everyone but it was immense fun while it lasted.
This anecdote in many ways encapsulates all that makes LOTRO so enjoyable. Teamwork, a sense of community, an environment that lends itself to more than just the scripted gameplay. This is why player generated events thrive in the game and why Standing Stone Games are wise to support such undertakings. Although over the years, the relationship between the player base and the development team hasn’t always been good and it’s fair to say that mistakes have been made on both sides. The transition to F2P was far from smooth for the European players and both Enedwaith and Dunland where hardly highpoints in the games ten-year journey. Then there was the introduction of the skills tree with Helm’s Deep which divided the player base. However, unlike other fickler communities, LOTRO players tend to take a more pragmatic approach to the ups and downs of gaming. They have rolled with the changes over the last decade mainly due to their passion for Tolkien’s work.
As soon as I had bought LOTRO in 2008, I started blogging about the game. In many respects, it was instrumental in my writing on a regular basis, as it tends to be a rule of thumb that you should write about what you enjoy. What quickly became apparent was that there existed a very dynamic and friendly blogging and podcast community associated with the game. Everyone was extremely welcoming and only too happy to help promote each other’s content. The LOTRO Combo Blog was an invaluable source of information, aggregating dozens of fan related sites. There was also a wealth of LOTRO related podcast and shows, all dealing with a unique facet of the game. But I think we can all agree that the jewel in the crown of fan related productions was “A Casual Stroll to Mordor” with Merric and Goldenstar. The show presented LOTRO related news and views each week with a healthy dose of enthusiasm and honesty. It very soon became indispensable listening among fans and in many ways, did a better job of informing players and promoting the game than Turbine.
On a personal note, one of the most agreeable aspects of playing LOTRO over the years has been the friendship that I’ve formed with fellow bloggers, podcasters and guild mates. The kinship system in LOTRO is a subtly different beast to comparable social systems in other games. It doesn’t offer the obvious items advantages of say Guild Wars 2 or STO. It seems to be far more of a labour of love. I have been in the same kinship since spring 2009 and it is a remarkably tight knit social group. Some players come and go but there is a core group that are the heart and soul of the kinship and they are always online, willing to help and blessed with a boundless enthusiasm. As LOTRO has finally reached the Black Gates and Mordor awaits via the next expansion, I’ve seen many a familiar faces return to the kinship roster. It’s amazing the way friendship just resume, as if time has no bearing on the matter.
Ultan Foebane. Holding his chopper and going nowhere since 2007.
In many ways Update 21 is a major crossroad for both LOTRO and Standing Stone Games. Finally, the central story goes beyond Tolkien’s work and it is incumbent upon the in-house writers to maintain the high standard that they have for the last decade. There is scope for this to be a major creative step forward. It could also go the other way. Yet, despite the importance of this transition, the community seems far from nervous about the matter. Good will abounds at present and the recent ten-year anniversary has been well received. Certainly, the transition from Turbine to SSG has repaired a lot of previously burned bridges and the developers seem to be far better at communicating and keeping players informed than they previously were. So, here’s to LOTROs future and years more of fun and fond memories. May the road continue to go on and on.
Godzilla (2014)
Gareth Edwards directing debut Monsters, was a clever, subtle and genuinely moving human drama that just happened to be set against the background of alien lifeforms in a quarantine zone. He also managed to imbue the monsters of the title with a sense of depth. They were intriguing with their bio-luminescent communication and curious vocalisations. They were not simply an arbitrary MacGuffin and hinted at something far more complex. I was therefore very surprised and pleased that he has managed to maintain these qualities in his second feature film Godzilla. Despite being a massive studio undertaking his reboot of the classic franchise has a depth of soul that you seldom find in such mainstream material.
Gareth Edwards directing debut Monsters, was a clever, subtle and genuinely moving human drama that just happened to be set against the background of alien lifeforms in a quarantine zone. He also managed to imbue the monsters of the title with a sense of depth. They were intriguing with their bio-luminescent communication and curious vocalisations. They were not simply an arbitrary MacGuffin and hinted at something far more complex. I was therefore very surprised and pleased that he has managed to maintain these qualities in his second feature film Godzilla. Despite being a massive studio undertaking his reboot of the classic franchise has a depth of soul that you seldom find in such mainstream material.
Ishirō Honda's original Godzilla movie in its uncut Japanese format is a tragic and melancholic tale, as well as a clever metaphor for the nuclear age. Garth Edwards maintain this theme but also adds an environmental element, as well as a philosophical concept with Godzilla being a "force of nature". This is more than an exercise in spectacle and the movie has a genuine sense of awe as it shows us an apocalypse brought about by the natural world, that we are powerless to deal with. The monsters in this movie are more than just caricatures. They are living, breathing entities with complex lifecycles. They are also very much part of the world, a theme that the author Clive Barker was always keen to explore.
The human elements of Godzilla are also handled in a different fashion to the standard formula. We are not saddled with heroes that have all the answers and who can miraculously save the world. As with Monsters there is a domestic drama being played out between Joe Brody (Bryan Cranston) a scientist grieving for his dead wife and his son Lieutenant Ford Brody (Aaron Taylor-Johnson) of the USN. Ford has to constantly bail out his Father from his conspiracy theory driven misadventures. This in turn places a strain on his own domestic relations with his Wife Elle Brody (Elizabeth Olsen) and their son. These simple narrative themes, work well against the catastrophic big picture.
Steven Spielberg has always been good at finding the right balance between the everyday and the incredible, both visually and thematically. There are traces of that approach here in Gareth Edwards directorial style. He elects to be extremely measured in what he shows, very much like Jaws, until the third act. This is a decision that I thoroughly approve of, although it will not be to everyone's liking. Some people have already complained that there is not enough Godzilla in the movie. However, I suspect they are more fans of spectacle and not necessarily interested in the director’s wider vision. I would also argue that the English dialogue version of many of the original Godzilla movies often robbed them of the finer plot points and simply focused on man-in-suit action, thus changing expectations of the US market.
Visually Godzilla is an outstanding experience. Seldom has such destruction been depicted with such gravitas. The movie takes a bleak tone so don't go looking for any witty quips or banter. It’s all played very straight faced. The visual effects give Godzilla an immense sense of scale as well as the M.U.T.O.S. This is one occasion when 3D does help the proceedings. There is also a tangible sense of the human cost to all the mayhem, without resorting to cliché. Furthermore, composer Alexandre Desplat has managed to craft the right sort of soundtrack for the proceedings. It has clear thematic influences from the original Japanese movies and is suitable sombre. Pretty much every aspect of this production seems to have been thought about in an intelligent manner.
Godzilla is a rare beast these days, in so far as it’s a blockbuster with a far greater amount of thought behind it. Not everything works. Sometimes the script follows the less interesting characters about and a few of them drop out of the proceedings without logical real reason. But the movie maintains a sense of integrity about its subject matter. Furthermore, considering that director Gareth Edwards has managed to produce a movie of this type, via the studio system and still managed to stamp his personal style upon it, is a major achievement. This is one of those rare times where I eagerly await a sequel, as long as it maintains the high standard that has been established by the first instalment.
Pacific Rim (2013)
At first glance Pacific Rim may appear to be yet another exercise in Hollywood excess. Another bloated, vacuous spectacle made by cynics who have no other motive than to part the unwary cinemagoer from their hard-earned cash. Fortunately, it is not one of those movies. It is big and certainly visually impressive but it also has a plot, likeable characters, a global overview and a sense of integrity regarding the genre it lovingly references. In every respect, this is a superior example of the summer blockbuster genre and it can all be attributed to the unique talents of Guillermo del Toro.
At first glance Pacific Rim may appear to be yet another exercise in Hollywood excess. Another bloated, vacuous spectacle made by cynics who have no other motive than to part the unwary cinemagoer from their hard-earned cash. Fortunately, it is not one of those movies. It is big and certainly visually impressive but it also has a plot, likeable characters, a global overview and a sense of integrity regarding the genre it lovingly references. In every respect, this is a superior example of the summer blockbuster genre and it can all be attributed to the unique talents of Guillermo del Toro.
Del Toro is a man of passion, intelligence and an inherent understanding of the subtleties of cinema. His diverse portfolio of work shows how he is equally at home with the cerebral and the spectacular. Pacific Rim is very much an example of the latter but it has far more substance than many movies of this kind. The director's clever nuances and flair for creativity are present throughout the movie. Although this a homage to the great Toho productions of the sixties and seventies, Pacific Rim is far from a conceit or an indulgence. It is a very public and accessible ode to a genre that shaped the director's childhood.
So, what makes Pacific Rim head and shoulders above the competition? The fresh perspective that Guillermo del Toro brings to the proceedings. It is not the US that saves the world but people from all nations. The focus of events has a very far eastern flavour and an international cast, all of whom have well developed characters and backstories (by genre standards). There is humour provided by two bickering scientists which not only entertains but is a clear reference to Japanese monster movie tropes. The visuals are both original and creative providing a genuine sense of scale and threat. Yet the Kaiju's still have Godzilla-esque quirks and mannerisms. Ramin Djawadi score also echoes iconic themes from the Toho glory days.
Pacific Rim also eschews the usual broad strokes of Hollywood. The female lead Mako Mori (Rinko Kikuchi) is a far more interesting protagonist than we usually see. The cultural differences between East and West are touched upon but not in any clichéd fashion. As ever the director has a scene in which a small child is terrified and it is a very potent sequence. Yet it has significance to the plot and is far more sophisticated means of explaining motivation. Films so often these days simply think they can define a character’s actions in the most arbitrary manner.
Pacific Rim is not without some shortcomings and the biggest is possibly the length of some of the action scenes. Where younger viewers may delight in an unleavened diet of CGI, the more mature viewer may grow a little tired during the third act. However, there it can be argued that when you get a major studio to bankroll a project such as this for $190 Million, then there is a requirement to indulge them. The 3D process also impacts upon the elegance of Guillermo Navarro cinematography and at times darkens the image too much.
Simply put Pacific Rim puts the Transformers franchise to shame and shows them up for the disposable and hollow products that they are. The movie also showcases the powerful presence of Idris Elba and once again has an American lead character, played by a Brit (Charlie Hunnam). Del Toro regular, Ron Perlman, has an extended cameo and a lot of fun with a rather quirky role. Production designer Andrew Neskoromny gives a very convincing wartime feel to the movie, especially the Jaegers themselves. Under Guillermo del Toro's guidance all these strands come together to make a movie that is far more than the sum of its parts. I'm left pondering how different and potentially better The Hobbit may have been under his creative auspices.
The Expendables 3 Unrated Edition (2014)
The theatrical release of The Expendables 3 in 2014 was severely hamstrung by the producer’s decision to court a wider audience with a PG-13 rating. The film although profitable, still fell short of its predecessor’s box office taking. Many fans of the franchise subsequently looked to the DVD and Blu-ray release to provide a harder cut of the movie, similar to the previous R rated instalments.
Sadly, this was not the case. The Expendables 3 Unrated Edition does include some additional action content and one new expositionary scene but overall there is nothing that radically improves the film or makes it stronger in content than the theatrical release.
The theatrical release of The Expendables 3 in 2014 was severely hamstrung by the producer’s decision to court a wider audience with a PG-13 rating. The film although profitable, still fell short of its predecessor’s box office taking. Many fans of the franchise subsequently looked to the DVD and Blu-ray release to provide a harder cut of the movie, similar to the previous R rated instalments.
Sadly, this was not the case. The Expendables 3 Unrated Edition does include some additional action content and one new expositionary scene but overall there is nothing that radically improves the film or makes it stronger in content than the theatrical release.
What Unrated Edition of the movie offers is five minutes of extra material, including an additional scene of dialogue between the younger member of the mercenary team. It should be noted that it makes no significant difference to the film’s narrative. The remainder of new content consists of additional action sequences in the movie’s climatic battle. This is predominantly expanded knife work by Doc (Wesley Snipes) and Lee Christmas (Jason Statham). There is also a smattering of additional profanity throughout the proceedings. Although this new material would have pushed the movie into an R rating if it had been included in the theatrical release, it still wouldn't have made it comparable to the first two films.
So, to clarify the situation, the first two major action scenes in the The Expendables 3 Unrated Edition are the same as the theatrical release. The train rescue and the dock shootout remain relatively bloodless, although they are well constructed. I was especially saddened that nothing was added to the scene in which a steel cable was strung across the rail track. I was hoping for some decapitations and bisections but no such luck. It is not until about fifty minutes into the movie we get the first new content. An additional scene aboard the transport plane where the new team of Expendables discuss Stonebanks (Mel Gibson). It neither enhances nor detracts from the theatrical version and just reinforces the established group dynamics.
It is during the final battle in the ruined hotel, that the bulk of the new material is added. However this is mainly longer edits of fights and the use of alternative takes. For example there is a scene where Jason Statham uses a soldier as a meat shield that I don't recollect being in the theatrical release.
The changes to the various knife fights are as follows. There are more stabbings with an emphasis upon sound effects. Wesley Snipes knifes a group of soldiers in more detail and Jason Statham dispatches a particularly large foe by stabbing down into his shoulder with a large blade.
Other differences include more physical blows during the hand to hand combat and possibly more bullet impacts (although these remain conspicuously bloodless). Because the changes are so minor it is hard to tell without doing a direct side by side comparison between theatrical and unrated edition. I suspect there may be some nominal CGI blood spray and bullet holes added to the Mel Gibson's demise. I'm sure a more comprehensive analysis between versions will eventually appear over at Movie-Censorship.com in due course.
Sadly, The Expendables 3 Unrated Edition does not fundamentally change my opinion of the overall movie. It was a mistake by the film makers to make such a tonal shift and although the longer cut can offer some solid action entertainment, it lacks the bombast and excess of its two prequels. If a fourth movie is forthcoming let us hope it returns to a format that appeals to the core demographic.
Messing About in Boats
“Believe me, my young friend, there is nothing - absolutely nothing - half so much worth doing as simply messing about in boats.” Kenneth Grahame. The Wind in the Willows.
It's curious the way a simple aspect of a game can resonate with you and become a source of pleasure. Regardless of the availability of new content, I still like to log into LOTRO on occasion and just ride around Middle-earth. Similarly, the vast open world of Skyrim has a comparable appeal. Despite my lack of driving skills, even aimlessly cruising around Los Santos in GTA V can be a source of relaxation. I can lose hours indulging in these simple tasks, quietly reflecting on either the game or the real world. Recently I returned to another activity that can also be added to this list. Sailing in Two Worlds II.
“Believe me, my young friend, there is nothing - absolutely nothing - half so much worth doing as simply messing about in boats.” Kenneth Grahame. The Wind in the Willows.
It's curious the way a simple aspect of a game can resonate with you and become a source of pleasure. Regardless of the availability of new content, I still like to log into LOTRO on occasion and just ride around Middle-earth. Similarly, the vast open world of Skyrim has a comparable appeal. Despite my lack of driving skills, even aimlessly cruising around Los Santos in GTA V can be a source of relaxation. I can lose hours indulging in these simple tasks, quietly reflecting on either the game or the real world. Recently I returned to another activity that can also be added to this list. Sailing in Two Worlds II.
What I find strange is that this is the very sort of game mechanic that I usually balk at. In the past, I would usually view similar systems as an unnecessary embellishment. Plus, I am not inclined towards sailing in real life, having tried it a few times in my youth. I just couldn't get on with the sweaters, endless sea chanties and the smell of fish. So, it comes as a surprise to me how much I enjoy tacking around the archipelagos of Antaloor, listening to the in-game ambient music track, Sails and Journeys by Borislav “Glorian” Slavov and Victor Stoyanov.
Sailing in Two Worlds II is far from arbitrary and requires a modicum of skill. The mini-map shows the wind direction and one must steer accordingly to pick up speed. Naturally sailing in to the wind is impossible, so tacking is required when navigating in such a direction. Therefore, it requires some thinking to sail to a specific waypoint. Naturally, the game developers have not made this mode of transport mandatory. There is the option to swim or use the teleportation system to travel between locations. However, there is a something elegant about sailing to a specific destination. The games weather system as well as day and night cycle also add to the ambience.
It is often these minor facets of games that keep me engaged and playing them. When you consider the horse trading that goes on during the development process of any title, it's nice to see some of these low-key mechanics still make it into the finished products. I often find them a great way to relax and am therefore pleased to add sailing to my list of trivial activities to indulge in while gaming. The wearing of eye patches, is of course, purely optional.