The film is clogged with exposition and explanation, paradoxically belittling a story that’s too big for any single telling.
It’s a heady psychochemical mix, not easily divisible as an artwork that offers much in the way of comfort or congratulations.
You slash or blast your way around, Lego bits explode sometimes, you collect stuff to unlock other stuff, you get your LucasArts fix.
So try this scenario on for size: You’re just a regular guy who likes to look at porn on the Internet.
Consider the Rango game your stay of execution. At least until Cars 2.
For the racing genre, Glacier 3: The Meltdown is not a game-changing game.
With the party vibe scaled back to a dull murmur, the CSI environment actually becomes more than tolerable, if less than totally engrossing.
The realistic environments are passable, but exploring them is not an option: You’re stuck in tent-view for the duration.
Unlike Miyazaki’s Ponyo, the game’s strangeness feels contained, safely contextualized within the threadbare narrative.
What happens on the board itself is actually just a simple matter of pushing the pieces in circles, tossing the die, and maintaining an account of cash reserves and property.
Fortunately, almost all of the bullshit cutscenes are skippable, and if the only thing you want from a Star Wars FPS is to slash your way through Lucas-scapes, dropping bodies, and smashing AT-ATs, this is the game.
It’s a return to classical form, casting off the more fashionable dressings of the “reboot” and the “update.”
References to films-as-dreams in film criticism have risen in inverse proportion to the actual dreamlike quality of the cinema, which is all but extinct.<
The phenomenon of the holiday makes it necessary for practically everyone to get into the spirit of things.
As Zombie closes the second Halloween, he leaves the door ajar to underwrite, of course, another sequel.
Frank Borzage positions his romanticism as a contribution to Hollywood’s anti-fascist crusade.
Fireworks announces not only a new kind of cop movie, but a template for a new kind of Takeshi Kitano film.