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'Mad Max' used me up like a bloodbag and, much like the false promises of the warlords, Valhalla wasn't waiting when everything finally faded to black.
If you’re like me, an open-world game set in the universe of George Miller’s Mad Max has always been on your wishlist. It’s a setting ripe with possibilities for great gameplay: The Big Nothing, a barrier of sand, encapsulates an isolated enclave where the last remnants of humanity struggle to survive against the harsh elements of the post-apocalyptic landscape – including the maniacal warlords hellbent on conquest. We haven’t seen Max on a console since the NES, but finally his true sandbox title has arrived. And now that it’s here, I’m sad to report the experience feels devoid of life, but ironically not because it takes place in a desolate wasteland. There is fun to be had, and the game faithfully creates the look and feel of the movies; however, Mad Max falls short in capturing the depth and immersion that make its source materials beloved classics.
I worked on several custom publications as an editor, writer, and occasional photographer. Below are two of those magazines.
Fans who have been waiting to see Alien translated into a proper videogame finally have what they've they been looking for: A fun game that delivers the tense thrills and cheesy fun of the original movie. While not without its flaws and frustrations, Isolation's adherence to classic survival-horror mechanics and its dark cyberpunk setting make it a must-play for anyone craving some effective Xenomorph scares.
When leaving the theatre after seeing Men, Women & Children, the latest from Juno director Jason Reitman, my friends and I had varying views of what the movie was about. Discussions ranged from how it examines the irony of communication technology breeding a generation of poor communicators, to how it exposes the human race as a helpless collections of molecules, cursed to live on a giant rock in a vast universe that's doomed to collapse. At the time I presented another alternative. But I can’t recall what it was. To be honest, I don’t have a clue what the larger moral of the story is, but I am positive there is one, glaring at me and shoving itself in my face from beginning to end, like a reactive father trying to teach a complicated lesson that he himself had never thought of before this moment.
It’s an almost ironic plot, considering how truly horrible some of the X-Men film entries have been. Those who were hoping this outing would act as reboot for the dying franchise can rest easy: X-Men: Days of Future Past is not only the hands-down best film in the series, it may very well be the best comic book adaptation of all time.
The original 1954 Gojira ("Godzilla") was a dark film about the atomic bomb, in which a monster destroys everything in sight, and leaves little room for hope. It was a cathartic experience for a Japanese audience: An unstoppable force is causing destruction, and man is helpless to contain it, so they largely accept it. Riddled with metaphor, the film was Japan’s reaction to a horrible war crime that destroyed two cities and caused the death of millions of innocent people.
Godzilla then spawned a plethora of sequels, most of which abandoned the serious tone in favor of men in silly costumes fighting each other over the fate of the world, with the audience rooting for the now-likeable Godzilla. Typically the stories involved some monster menace wreaking havoc, and our scaly antihero would emerge from his slumber to kick some dopey-looking shrimp monster’s ass. Needless to say, these movies are loved largely only for their “B” charm.
So, which take does this new 2014 Godzilla remake go with? The simple answer is that it goes with the latter, all the while attempting to capture the tone of the former. The result is a monstrous disaster, culminating in a film with a script too weak to sell you on either its philosophy or its monster fights. Godzilla is neither smart nor fun, and considering the deceptive quality of the film’s trailer, it ends up being one of the biggest disappointments in modern memory.
Aronofsky succeeds in telling the story of the Great Flood in a way which exposes its glorious absurdity. But he ultimately pulls his punches, seemingly out of fear of offending the Christian masses who will lead Noah to box office success. Inevitably, some of the faithful are going to be offended by what they see here regardless, but if the theatre I was in is any indication of how the public will react, many of the God-fearing are going to feel vindicated by this holy adaptation.
Critics shunned them, moviegoers ignored them, and award shows laughed at them. Still, despite all the negative press, some of the “worst” films of 2013 may actually be worth your time. Here’s a short list of “bad” movies that you should judge for yourself.