Recensioni di ACJayC

Disappointingly barebones and kind of boring.

I was low-key looking forward to this movie when I first saw the trailer. An original samurai drama in European lands? Hell yeah! But in reality, this movie feels skeletal. The story is promising and it has its moments, but it lacks build up and layered characterization. It doesn't help that some scenes feel a bit illogical, making the characters seem either stupid or nonsensical.

Visually, this movie is fine. I love Tornado's costume design and the cinematography is decent. But I feel like the coloration is a bit dull and not all that interesting. The soundtrack overall is fine, but the more mellow songs are really good.

Not bad, but not good either. The themes and "symbolism" of the movie are cool in theory and I'm personally fine with the performances. Barry (my beloved) is good and so is Jenna. The Weeknd's performance is mediocre, but I do think the script drags him (and everyone else) down a bit.

That's just the thing, though. The writing is so laughably bad, meta, and self-indulgent that it overshadows any potential this movie has. That and the weird cinematography (that spinning camera is gonna throw me for a loop!).

Someone tell Abel to look up a writing masterclass and get his head out of his own ass.

(Shout-out to my sister for watching this with me, and actually trying to find deeper elements of the movie that I could buy into)

I'll admit. I kind of like this movie. It's nothing special or groundbreaking, but the good script and a mostly layered protagonist did leave me impressed. It's not all great, though.

Rami Malek's role as Charlie Heller is a decent one. Heller has a good enough arc to make him a character with enough depth. His characterization is well done and Rami does a good job with the material. It is unfortunate that his development gets put on hold midway through the movie, though, as there was still a bit more that could've been done. But other than that, I found myself really liking Charlie Heller and his story. What I don't like, however, is the plot surrounding his story. It's a plot driven by characters that are extremely one dimensional, with plot beats that don't have the build up to make them all that interesting. In fact, there are times where the story feels a bit messy, only for Heller to get things back on track. One thing I really appreciate about this movie is the screenplay. The dialogue is pretty good and scenes do play out in a consistent way. I also love how the story takes its time in the first act, setting up Heller's arc. The script does a good job at providing enough material to work with, but the story's flaws overshadow some of the these efforts.

The performances and directing is good, but not perfect. I couldn't help but feel that some of the more emotional scenes were treading melodramatic grounds. It just felt a bit much at times, especially since we don't spend enough time with other characters. The action set pieces are fine, but nothing special. While I'm not the biggest fan of the soundtrack, it had its moments.

The Amateur is better than I expected, but it's still faulty in a few areas. I think Charlie Heller is a good character in a messy story. And while I think the movie could've presented itself a bit better, I do think this is an action-flick I'll be revisiting from time to time.

(Also this movie feels like if Mr. Robot was an action movie. There's literally a therapy scene, too.)

Essentially an expansion to Assassin's Creed II, but as a full game. It plays the same and looks quite similar, but it's all accompanied with improvements. The gameplay is smoother and the visuals are sharper, but there's more.

I like to look at Brotherhood as a hub or platform of content - because it kind of is. There are TONS of various side quests and collectibles to keep the sandbox compelling. Some of the content offers some fun and unique gameplay opportunities, while others allow for more worldbuilding and storytelling. It's kind of overwhelming how much content this game has, and that's not even counting the expansions.

The main campaign is also pretty solid from a gameplay and mission design standpoint - and thank goodness we can replay story missions again. But the biggest gripe I have with Brotherhood is the story. While Assassin's Creed II's story wasn't perfect, it had memorable characters, a compelling plot, and just some good writing. A lot of Brotherhood's story feels a bit rushed. Certain plot points aren't that well fleshed out, story arcs get wrapped up quickly, and characters don't really develop all that much. When it comes to playing through missions, there is the addition of optional objectives that add to the overall completion of the game. They are fun and add some replayability to accompany the replayable story missions (and some of the side missions). But when you fail an optional objective, the only way to try again is to completely restart a mission instead of from a checkpoint (which there are plenty throughout missions). The more challenging optional objectives become MUCH more frustrating and tedious because of this flaw.

The greatest aspect of Brotherhood is the gameplay. While it all feels like Assassin's Creed II, there are some improvements that add to the fluidity of things. Most notably is the chain kill system. To spare the clunkiness of combat, players can now chain together finishing blows on multiple enemies in fluid motion (as long you're not hit or interrupted). This makes combat feel more stylish and snappy. There's also the addition of hiring recruits to assist with getting rid of enemies - while I barely used this mechanic, I appreciate the effort. While the parkour is largely the same as ACII, it does feel a bit smoother with a world that feels more consistently designed for it.

The visuals have also seen very noticeable improvements. Character models look much sharper and the lighting looks pretty great at times. While the setting isn't my favorite, I do have to applaud some of the environmental design.

Speaking of the setting, there's something about the map of Rome that just leaves me feeling conflicted. It's not a bad open world or sandbox by any means, but I never really found it as intriguing as Venice or Jerusalem. The aesthetic of Rome (from the urban landscapes to the countryside) are fine, but admittedly a bit basic compared to what came before.

In the end, Assassin's Creed: Brotherhood is a noticeable improvement over its predecessor, but it isn't perfect. The variety and quantity of content is impressive. The visuals are a good improvement. But the story leaves a bit to be desired, and I personally didn't find the setting to be that engaging.

I've watched this movie more than ten times over the course of ten years. Every time I watch it, I feel like either people never gave this movie a fair shot or they were expecting a Fast & Furious kind of movie. It's more than that. Need for Speed is a car action-drama fused with a road trip adventure. It's a lot more grounded than Fast & Furious and a bit more brutal, too. But what really has me coming back to this film (over and over again) is the narrative and the action.

The story isn't the most complex or most artsy thing out there (nor does it have to be), but it's still interestingly competent if you actually look at what's happening throughout. The plot allows for different story elements to breathe and develop. There's so much subtle characterization being done in the first act already, with a charming script and fun performances by the supporting cast. Even throughout the story, we get to see different sides of Toby Marshall (Aaron Paul). We see him letting his emotional guard down and when he's ready for a fight. We get to know him on a personal/emotional level and Aaron Paul sells the character really well (this is the film that introduced me to Aaron Paul and immediately made him a favorite of mine). There are also certain plot points that I thought were quite nicely tied together and added some good weight to the overall arc, even if they aren't the most complex (which, again, it doesn't have to be).

Then there's the set pieces and the cars. Some of the most exhilarating car action I've ever seen, without it feeling too over-the-top. The races are amazingly done and you can somehow feel the weight of these monstrous motor beasts. Another cool aspect is how the movie implements elements from the different eras of the NFS games (especially The Run and the earlier European-based games). The sound design is also really punchy - the engines are beefy and the sound effects lend themselves nicely to the action. Lastly, the soundtrack and atmosphere is fantastic. When its downtime, there's a sense of freedom and glory. But when the action arises, the soundtrack is mighty intense.

I guess Need for Speed is a hit or miss kind of movie. If it doesn't click, you're gonna get left behind and bored with it. If it does click, you're gonna love every moment of this road trip. I'm NOT ashamed to say that this movie put me on the path of being a cinephile. The more I revisit it, the more I uncover and the more I realize how much this movie means to me.

I've watched thousands of objectively better movies. But I'll GLADLY say that this is MY favorite movie of all time. I love Toby Marshall's story and the drama that comes along with it. I love the action and the atmosphere. And I adore the supporting cast.

Speeding away...

ASH has potential to be a really solid sci-fi horror flick. The story has its moments, really excelling in the last third of the movie. The atmosphere and soundtrack is pretty good, although some of the more action-packed tunes came off as a bit over-the-top and uninspired. The art direction is also pretty good, although the neon lighting did get a bit tiring after while. My problem with this movie comes from the fact that the ideas and style are cool, but the presentation is quite boring and inconsistent.

There are so many moments in the script that pull you in, with some good dialogue and compelling scene building, before going back to the boring and unfocused moments between the action. It's the type of the story that leaves you in the dark until the answers reveal themselves in interesting ways. But the problem is, the script/movie doesn't know how to keep things compelling until the those answers are revealed.

The direction of scenes by Flying Lotus aren't half bad, to be honest. The performances by Aaron Paul and Eiza Gonzalez are fine, working well enough to service their characters (even if the story itself doesn't really help us to connect or understand these characters). Though, I will admit (when it comes to the direction) that the building of tension during certain scenes isn't all that captivating. Cinematography is good and the visual direction is stylish, but again, the neon coloration and lighting does get a bit tiring.

ASH is okay at best and mediocre at worst. It's nothing extraordinary, but there is potential for something great here. It's just left a bit unpolished and untapped.

This movie SHOULD work. But it ends up falling into obscurity and becoming the type of movie you watch and forget.

It starts off well and steady then it stalls for a while, before completely losing me. Certain plot points lack build up and the characters just aren't that compelling. There are some interesting themes here, but the movie doesn't linger on them long enough and doesn't really go in-depth with them. I also don't really understand exactly what the antagonist is trying do here, and some character actions come out of left-field, making certain plot beats feel a bit abrupt.

The only saving grace the movie has are the performances and the visual direction. All of the performances are quite solid and some of the less exposition-y dialogue is pretty good, I'll give it that. Heath Ledger does a great job adding some nuance to an otherwise boring protagonist. The visual direction is pretty good at times. Some of the locations look great and the cinematography, while simple most of the time, does provide some pretty great shots.

I don't plan on watching this again. I think it's best left forgotten.

Malena is an interesting tale that's almost akin to a Shakespearean story. Romantic and tragic while also having a war as a backdrop. But what I love most about this movie, aside from Giuseppe Salfaro's impressive embodiment of his character, is the tragedy surrounding a character like Malena.

Objectified by men and despised by women. Her beauty is her biggest crime. Add to the fact that she also deals with some personal losses (all made of lies). Malena just cannot win. But what really stuck with me was the climax, because an interesting theme comes up. Womanly envy that leads to the destruction of another woman. The way that scene is directed also makes this theme very impactful, as it is something that had somewhat subtle - yet sensible - build up.

Other than the tale of Malena, this movie looks AMAZING. The cinematography and the art direction... oh, the art direction. These historical environments look amazing, with beautiful lighting and coloration during daytime scenes, which makes the aesthetics pop out even more.

While not my favorite movie out there - some of the comedic/comical elements didn't really work for me, and Renato (Giuseppe Salfaro) not being man enough to talk at certain points did kind of frustrate me (though, that's a nitpick) - I did walk away from it feeling satisfied and I'm looking forward to giving it a third watch at some point.

What a waste of time. I won't lie, I was hoping this would be one of those bad movies that I can see the potential and art within. And honestly, the prologue did have me a bit intrigued. But the rest of Outcast has nothing going for it. It's flawed in its very foundation and the execution doesn't make things any better. Almost everything about this movie is low-effort and flat.

The storytelling lacks nuance and results in a very boring narrative. The plot is barebones and the characters are very one dimensional. There's no layers to the story and nothing interesting to invest in. The writing also feels cheap, with dialogue that feels one-note and certain actions that make no sense.

What makes this movie even more low-effort are the performances and scene direction. The acting is just falls flat and the direction doesn't help at all. Also, the editing can be atrocious at times, especially during action scenes. The amount of cuts during action scenes is ABYSMAL!

The only redeeming factor this movie has is its art direction. Costume designs are solid and the portrayal of locales through the set design are genuinely pretty good. The cinematography (while a bit sloppy and questionable at times) adds to how good-looking this movie is.

But in the end, Outcast is just a boring action-flick with no depth and no effort.

The Timesplitters saga provides some of the most iconic games on the PlayStation 2. Everyone talks about how great Timesplitters 2 and Future Perfect are. But no one really talks about the first entry. And there's a decent reason for that. Timesplitters is a very different game compared to what came after. Timesplitters 2 and Future Perfect were much more cinematic, had more complex game design, and were overall a lot more forgiving and fun. But this first entry is straight to the point and tough as nails. I don't think that's bad however. It's just an acquired taste that I lack.

I will say that the game does still look pretty good, although the in-game menus do leave a bit to be desired. The character models are still charming and the environments are vibrant and occasionally stunning. The soundtrack suits the globetrotting adventure, providing diverse instrumentation and atmospheres. The sound design is arcadey, but oddly punchy. The overall presentation of the game is pretty solid.

You're gonna be shooting your way through 95% of the game, so the gunplay should be the most polished aspect of the game. Right? Well... yes, it is. The gunplay, while simple, is very satisfying and combat encounters do encourage some tactics to accompany the gunplay. The other 5% of the game has you examining the layouts of the levels and trying to find secret paths. This is where my main problem begins. Timesplitters is a speedrunner's game. The reason why the game is so raw (other than the untapped potential) is because it's simplicity is dedicated to a very challenging type of gameplay. This game is TOUGH on normal & hard mode. Really tough. Mid-level saves are non-existent. Enemies can catch you off-guard. Some levels are tricky to navigate. Lastly, there's a ton of trial and error, learning about the layouts of levels and where enemies appear. If you're a casual FPS fan who just wants a fun campaign to blast through, unfortunately Timesplitters is not the game. If you're going into this after playing Timesplitters 2 and Future Perfect, you might want to go into this with very different expectations.

In a lot of ways, the rawness and different design philosophy of this first entry makes it almost feel like a standalone game or a first draft with a different purpose than what would be realized in subsequent games. It's not a bad game by any means. The game's direction just doesn't appeal to me. It doesn't have the elements that drew me into the sequels. And that's completely fine.

What is there to say that hasn't already been said about this iconic piece of cinema? It's been a long 6-8 years since I've watched this movie. Within those years I started and finished high school, became a movie buff and started studying screenwriting. I come back to this movie after realizing I haven't watched it since before high school and my knowledge of film has grown exponentially. And GODDAMN! This movie still holds up EXTREMELY well. Where the hell do I start?

Michael J. Fox and Christopher Lloyd bring so much life to the characters of Marty McFly and Doc Emmett Brown. I mean really, these are the most entertaining characters to ever hit the screen. Marty McFly alone has influenced pop culture in so many ways. Hell, after watching this movie for the first time in almost a decade, I realized how much my personality stems from this beloved character. That's not to downplay the rest of the cast, though. Everyone in this movie is fantastic and brings a sense of animation that still feels grounded and realistic.

Robert Zemeckis knew what he was doing when creating this movie. Every scene stands out in terms of the way performances are directed and how scenes develop the plot and characters. It gets even better in the third act when the editing and performances (along with the writing) make the movie feel like a comedic thriller. It's a fantastic ride, through and through. Each scene never fails to draw you in, no matter how wacky it can get.

Then there's the story and script. Easily the most well thought out screenplay of all time. Bob Gale and Robert Zemeckis are wizards. The story is so well developed and carefully designed. The script elevates it with sharp dialogue that's clever, but never too abstract. The characterization is presented in such a unique and complex way, too. The concept of time traveling really allowed the writing to be experimental with how information and backstory is presented. No matter how many cinematic masterpieces come out, Back to the Future will always remain the best script to be translated to the screen.

Whether you like this movie or not, it is definitely worth the respect. Even a distant respect is enough. For a mid-budget studio film, Back to the Future is the peak. An instant classic. It's not only a highly influential film, but it's a film that stands the test of time in how its presented and with the story it tells. Bravo!

It baffles me how Shattered Glass fell under the radar, as it seems like the kind of film that cinephiles would hail as a hidden gem. Because it is quite the hidden gem, especially for a docudrama. I've watched this movie about five times over the course of a year, and I keep loving it even more. It's easily the most consistent cinematic piece in Hayden Christensen's filmography, and he does an amazing job at portraying a character/figure who is constantly playing around with people's trust.

It's not a complicated story, yet multiple viewings open up the movie in very interesting ways. Rewatching the film in hindsight and switching the roles almost births a smaller story that makes things all the more reasonable and adds a deeper layer to an already compelling (and almost conspiratory) plotline. The writing and performances only elevate this. The emotional tension that slowly builds up when the walls close in on our protagonist are beautifully brought to life through the performances and the suspensefully dramatic script. The complicated dynamic between Hayden Christensen and Peter Sarsgaard's performance gets really enthralling in the second half of the movie. What makes the story even more great is just how focused it is. Shattered Glass does its best to never stray from the core story and constantly builds upon it.

Impressive story aside, the movie's presentation is also really strong. The cinematography, while fairly simple, does add a sense of control over the chaos. The soundtrack is also fairly simple, but there's a somewhat dreamlike feeling to it that makes the overall atmosphere of the movie feel comforting. It's a hopeful score with slightly gloomy moments.

Shattered Glass is a beautiful movie and holds up extremely well, especially compared to the docudramas of today. The movie wastes no time exploring the core elements of its story to the best of its abilities. The script is focused and compelling. Although things get intense throughout, the atmosphere is still fairly comforting and occasionally surreal. Hayden Christensen, Peter Sarsgaard and the rest of the cast do a stellar job in building their characters and raising the emotional tension in ways that aren't overdone or undercooked. As a result, Shattered Glass is a well-crafted and compelling docudrama based on a topic and field of work that may come off as dull or unappealing. It's a genuinely underrated film that modern cinephiles and fans of docudramas should know about.

Right off the bat, I have to mention that I'm not really a fan of romantic comedies. So, rom-com elements do hurt my overall rating quite a bit. But there's still plenty of things I like about Amélie that I'll be focusing on.

Amélie is a movie I've been meaning to watch for a while. I've seen bits and pieces of it beforehand, and what compelled me to finally check it out was my love for the art direction and some of the performances that were briefly on display. But one mistake I did make when going into this movie was being unaware of what it was about. As a result, I finished the movie feeling a bit conflicted, but still loving several aspects of it.

The art direction and aesthetic is GORGEOUS. These are some of the best visuals I've seen in a film. It's vibrant, but kept together with an appropriate tint. The way characters appear makes for a charming cast. The sets and the way France is visually portrayed is perfect, and looks like something out of a painting. Add the fact that the movie has some surreal/dreamlike qualities to it, and it's a very artsy looking movie.

The soundtrack adds to the art direction and whimsical atmosphere. Filled with feel-good and light-hearted French tunes and cartoonish vibes.

The performances, paired with the writing, makes Amélie a weird but cute experience. The world of this movie is charming, colorful, and memorable. Filled with odd characters and surreal qualities. It can be wholesome, but it can also be quite adult in the oddest ways. Audrey Tautou breathes such compelling life into the character of Amélie. Paired with some strong characterization in the script, and it's hard not to like her.

Where the movie loses me the most is in its core story. I don't think it's a bad narrative, and I do think there's some unique story ideas that are worth giving credit to. But I also struggled to stay interested in it. This is why I mentioned the fact that I'm not a rom-com fan, because the story is very much based around that style, with A LOT of those elements. And those are the elements that I dislike the most about the movie - and that's like 60% of the movie. But I powered through... and I didn't regret it. Because despite me not being that interested in the plot or the larger narrative, I was genuinely invested in the characters and the world. And I was rewarded with an ending that was so heartwarming that I actually teared up a bit.

While Amélie's story and genre may not be my cup of tea, its world and presentation is what kept my attention. It's a stunning movie to look at, filled with weird moments, and compelling performances that left me in awe.

Coming off of a really humbling release with Assassin's Creed: Unity, a follow up was either going to kill this franchise or bring it back to glory. Syndicate is an interesting follow up, as it came out as a much better release than Unity... yet it didn't quite have the popularity that the typical Assassin's Creed game has. Which is a shame, because whenever I play or even look at Syndicate, I always feel like it's the game that Unity should've been.

The game makes use of the same design and gameplay framework as Unity, but makes MUCH better use of it. The gameplay is a lot more polished and consistent. Combat is responsive and snappy. Freerunning/parkour offers a little bit more control than Unity, while still keeping the flashy animations. The mission design is relatively the same as Unity, although it's much more realized and almost akin to the first Assassin's Creed at times. Blackbox missions feel a lot more nuanced in their presentation and gameplay offerings, while normal story missions make use of the game's core elements really well. The side content is also surprisingly well made for the most part. You have the typical missions of liberating areas, but with unique twists and additional objectives. You also get some pretty good side missions with different historical figures, where the writing is charming and the mission design is quite layered. Collectibles are also diverse and offer loads of interesting lore and historical details. In fact, London is one of the most consistent open worlds that the series has seen. It's condensed enough to offer plenty of parkour opportunities, there's enough points of interests, and the content is well implemented.

The presentation is also really solid. This game can be visually stunning at times. The environmental designs are stunning, the art direction is consistent, and the character models look a lot sharper than they did in Unity. Although, on console, the performance can be a bit choppy. Although there has been a PS5 update that enhances the frame rate to 60fps, the PS4 version plays at 30fps with some occasional frame drops. But for a game that doesn't really have many bugs, I can still appreciate the optimization done here.

The story is where things get a bit choppy. The first mistake the story makes is in its tone - especially in regards to the historical setting. For a game taking place during the industrial revolution of Victorian London, Syndicate seems to avoid the darker aspects of the time as much as possible. Instead, the story is more of a buddy comedy. Now while the comedic aspects aren't necessarily bad, they do waste the potential that Syndicate's story could have had. And while I understand the lead writer's decision to make a light-hearted story, especially within a series filled with moody and grim narratives, I can't help but feel like it was applied to the wrong backdrop and timeframe. The story itself is also a bit flat compared to previous entries. While it's better than Unity by sheer focus and cohesion alone, the writing is admittedly poorer here. The plot itself is good enough, but the characters and some of the dialogue pose the main problem. The Frye twins are charming characters, but their motivations and backgrounds are a little bit predictable and uninspired. While there are stellar moments with the twins, where the writing and the performances (the performances are great all round) come together really nicely with the cinematic direction, there are just too many moments where their conflict and lack of collaboration (throughout the game) hinder the quality of the overall script. But I must say that Syndicate does pay a fair bit of attention to our antagonists and their respective plotlines. While some of the plot points are a bit predictable, the actual characterization of certain antagonists make for some genuinely entertaining villains. While the main villain could've used some of that quality characterization himself, his writing was still quite enjoyable and gave the character enough layers to work with. The VERY brief modern day segments are easily the weakest and most boring aspects of the story, and the overall ending of the game leaves a lot to be desired.

Assassin's Creed: Syndicate has a lot to like and if you haven't given it a chance as an Assassin's Creed fan, do yourself a favor and check it out. The gameplay is some of the best that the series has seen. The open world is filled with quality content, tons of detail, and soul. While the story is a missed opportunity and doesn't conclude in the best way, the plot and antagonists do attempt to keep things going in a more consistent direction.

While it's very much clear that Sucker Punch Productions were still trying to figure out a clear direction or vision with this first entry, Sly Racoon still proves to be a pretty good time, even in 2025. It's flawed in many areas, but there's enough here to warrant a complete playthrough.

On the gameplay front, Sly is still one of the most unique platformers out there. With a simple but effective stealth system, as well as some fun and occasionally challenging platforming, Sly sets itself apart from its action-packed competitors. The combat is a bit on the easier side, but the actual level design does provide a good challenge. The way levels are designed also allows for some fun exploration, rewarding side paths, and clever ways of moving around the levels. I also love the rewards that come with exploring levels for collectibles - something that is pretty lackluster in most modern games. Collectibles grant you with genuinely beneficial gameplay mechanics that can also help with specific side paths in other levels (which is pretty clever).

But while the gameplay and most of the levels are solid, my biggest gripe is this game's reliance on mini-games. I don't exactly hate them, but I hate that they are a hindrance to progression. You are REQUIRED to do these mini-games. And seeing how levels are compiled in different hub worlds, it would've been nice to have these mini-games as optional/side content. That way I can consistently play through the proper missions that take advantage of the game's core elements, then come back to the mini-games after finishing the story. The mini-games themselves are bit gimmicky, but they are manageable once when you get the hang of it. Though, they can still be quite frustrating at times.

The story is decent, but its a clear indicator that Sucker Punch were still trying to figure out the identity of the franchise. It's a very barebones story. The characters are diverse and colorful, but there aren't really any notable character arcs or fleshed out plotlines to accompany them. Which is fine, as the simple story is still serviceable, and some of the writing isn't too bad either. But if you're looking for a compelling narrative, you won't find it here.

Art direction and visuals are also really solid in this game, mixing elements of neo-noir aesthetics and Saturday morning cartoons. Character designs are appealing, environments look amazing, and the graphical fidelity works with the visual style the game is going for. Though one little gripe I have about the visuals is how dark some of the lighting can be, and the lack of brightness options.

Sly Racoon is a fun platformer that holds up surprisingly well in the gameplay department. The levels that focus on the game's platforming and stealth elements are still so enjoyable to play through. The collectibles and side content is also really well done. The art direction is still so charming, even if the graphical fidelity doesn't quite hold up. But what hinders the game from being a borderline masterpiece (in my opinion) is the forced mini-games and the slightly unrealized story. If the mini-games were optional and the story had a more fleshed out vision, Sly Racoon would've been one of the best platformers I've ever touched (even with 2025 standards).

While I wasn't going into this movie with the highest expectations, Takers still left me a bit conflicted. The first half starts off on a pretty generic and kind of sloppy note in terms of setting up the story - though I'll admit that I do quite like the dialogue and banter of our main ensemble. But the second half does make things a lot more interesting in terms of storytelling and set pieces.

When it comes to presentation (cinematography, soundtrack, editing) the movie feels a bit inconsistent. There is a lot of blurry camerawork that ends up making certain scenes feel a bit cheap or off-putting. The soundtrack is fine, but a teeny bit generic and forgettable. And while the editing is okay for the most part, there'll occasionally be the odd cuts in a scene. Either quick and unnecessary cuts to a character or a scene ends a bit abruptly.

The performances from the main cast is decent and pretty good at times. The standouts for me were Idris Elba, Hayden Christensen, and surprisingly T. I. I feel like these three really sold their characters well and ended making them the most compelling of the cast. The antagonistic cast, however, feel like they're playing very generic tough cops (which they basically are, when it comes to the writing).

Speaking of the writing, this is where I feel the most conflicted. The plot itself is pretty decent overall, but the execution leaves much to be desired. Characters are pretty stereotypical and lack nuance in their personality. Which is a shame, because the character drama is the best part of the film. T. I.'s character (Ghost) is equipped with some pretty entertaining dialogue and a simple yet interesting backstory. He's honestly the most well-written character in the movie. And while the rest of the cast is pretty flat, I did still enjoy the main ensemble. But things get really boring when it comes to the antagonists (the police side of things). The cop characters and the development of their plot is just not engaging. Again, it's very generic, surface-level, and cheaply developed. It feels very much like I'm watching an uninspired straight-to-DVD action movie. It's just not that interesting and the characters are boring. But it's really the plot/arc of our main ensemble that saves this movie from being completely forgettable. The second half of the movie brings a lot of intriguing plot points and character drama that the first half was just missing. I ended up really enjoying that third act.

Takers has its moments, but I can't help but feel like a really good heist drama was let down here. So much potential surrounded by uninteresting and uninspired ideas. A genuinely strong plot with a flat execution.

The inFAMOUS games on PlayStation 3 are undoubtedly my favorite games of all time. The first installment grabbed me and I was in for the whole ride. Loved almost every moment of its story, gameplay and open world. InFAMOUS 2 took this a step further with a more polished presentation, a more dramatic and emotional story, an incredible open world, as well as some good additional content. Basically, I'm a huge fan of this series and I was aching to see what would come next. Second Son was exciting when it came out, as we got to see a new protagonist with an interesting set of brand new powers on the next-gen tech of PlayStation 4. As a standalone game, Second Son is a pretty good time. Gameplay is impressive, visuals are even better, and it works well as a launch title. But once you start to dig deeper into what this game is and what it has to offer, the more cracks start to unfortunately appear.

Starting off positive, the game excels in its gameplay, visuals, mission design, as well as the cinematic/cutscene direction and the soundtrack. The strongest aspect of this game is its visuals. The graphical fidelity, art direction, animations, and VFX still look AMAZING to this day as it did back then. Gameplay is faster and more seamless than the previous games - though some of the depth within movesets is lacking. Playing through the campaign is a blast, as the main/story missions are diverse and take advantage of every gameplay element. When it comes to cinematics/cutscenes, Second Son absolutely nails it with great scene direction, lively performances, good cinematography, as well as stellar animations and motion capture. Lastly, the soundtrack also proves to be quite strong. It really taps into the culture of Seattle and Indigenous Americans, mixing grunge rock and vocals that are akin to Native American folk music.

Now for the bad. While I wasn't expecting Second Son to be better than the first two games in terms of storytelling, I was expecting an interesting and fleshed out standalone narrative. On a surface level, Second Son does have a really cool story. Even in execution, the game has a fairly strong first act, with entertaining dialogue and compelling plot points. But the rest of the story falls a bit flat. Characters are often very shallow and inconsistent. The karma system becomes even more of a burden to the consistency of the overarching narrative. The worldbuilding also comes off as a bit lazy, as the open world itself feels static and lacks the soul that previous settings had, and the lore is not presented in a very consistent or compelling way. What sucks even more is that one of the more serious themes of the game doesn't get much focus outside of one great scene near the beginning of the game. Then there's the side content. While inFAMOUS 1 & 2 didn't have the greatest side content, what was there was fleshed out enough to be worthwhile and interesting. Side missions and collectibles may have been a bit repetitive, but there were gameplay benefits, valuable mini-stories, and some good worldbuilding that came with them. Those side missions, while short, were lengthy enough to feel like proper missions with multiple objectives (with the average side mission being around 4-10 minutes). Second Son completely downgrades all of this. Side missions are turned into quick and repetitive activities that can be done in seconds - offering almost nothing of value in terms of additional narrative or gameplay benefits. The only "side missions" in Second Son are the DLC missions: "Cole's Legacy" and "Paper Trails." These feel a lot more akin to the side missions of the previous games, with multiple objectives that can be done in 4-7 minutes. These missions offer some decent worldbuilding and try to answer some questions that may come up in the main story, while also rewarding you with some cool cosmetics.

When Second Son gets good, it gets REALLY good. It's a fun superpowered sandbox game with some great visuals and main missions to tie it all together. But when Second Son feels lackluster, it feels like a downgrade. Lack of quality side content and an inconsistent story do hurt the experience for me. Is it a bad game? Absolutely not. In fact, it was quite close to becoming a really stellar entry in this overlooked franchise. And those that haven't played the inFAMOUS games on PS3 have a lot to like here. My biggest problem with this game is that it feels rushed. There are so many great ideas that needed more time to develop - plus the watered down side content is appalling. But if you can sandbox your way throughout the fun and replayable campaign, then Second Son almost makes up for its shortcomings.

Almost.

Sound of Metal is a movie that has stuck with me ever since I first watched it. It's a well-made movie, but it's also a personal and powerful one. It tells a story that puts the viewer in the head and ears of our protagonist, who goes from adrenaline-fueled noise rock gigs to vulnerable deafness. But as well made as this movie is, it's not perfect - even though it's quite close to being so.

Just to get things out of the way: the performances are amazing (Riz Ahmed and Olivia Cooke bring a beautifully chaotic nuance to their characters), the noise rock is infectious and the soundtrack (alongside the stellar sound design that enhances the story) nicely emulates the protagonists uncomfortable and haunting situation.

I also love how the story characterizes Ruben (protagonist) when things have gone array, showing his 'addict' ways even without drugs or hearing. A symbolism of Ruben being addicted to the noise and thrill of the rock gigs. He's a character who thrives off adrenaline.

But I mainly want to focus on the storytelling, here. I like it, but I don't love it as much as I want to. The first act starts off strong and gives us a really compelling look into the life of a punk duo with some kick ass noise rock to boot. And the third act gives us some relieving moments, concluding with some heartbreaking truths - and pure silence. Honestly the first and third act are arguably the best parts of the story, because the characters and plot are developed so well and the story unfolds in a compelling way, filled with great characterization and daunting revelations. Which is unfortunate, because the second act is clearly the most important and yet it feels like the most flawed. The second act is great on paper, but a bit wobbly in execution. It starts off reasonably well, as we get introduced to how things work in the deaf community and Ruben faces some harsh reality checks. But as things go on, it gets a bit abrupt. Ruben starts off annoyed and a bit arrogant in the first half of the second act. But then there's a sudden and abrupt transition to Ruben being fully involved in the deaf community after 'just' having some difficulties adapting to such an environment. The build up to Ruben adapting to this community is almost completely skipped. We don't get to feel the period of time Ruben goes through to adapt and grow into the community, and as a result it feels like something is missing or the story is trying to wrap things up as quick as possible. The biggest problem with this second act is that certain details and plot beats aren't explored enough to keep things consistent and compelling. It ends up feeling rushed and unfortunately... boring. I would've loved to see Ruben slowly find a reason to involve himself with the community and explore the relationships that Ruben has with certain characters - because as it stands now, the characters in this second act lack the nuance that the first and third act have. I overall just wish the second act had more characterization and build up, which could give us better insight into how Ruben grows into the community and how he feels when trying to leave it all behind in pursuit of his normal life.

As a whole package, Sound of Metal IS a really good movie that many fans of independent films and character-driven dramas should check out at least once. There's a lot to love about this movie from a technical and artistic standpoint. The performances are strong, the sound design and atmosphere is well done and the story (despite a flawed second act) is a really unique and touching one.

Firebreather is one of those childhood movies that I thought for sure wasn't gonna hold up - knowing what I know about films and storytelling, and how far the art can be taken. But I was very pleasantly surprised to give the movie two rewatches in a single week - after not watching it in about 12 or so years - and find myself enjoying and appreciating the movie more than I ever did. The movie isn't for everyone, and it's UNDENIABLY filled with the angst of teenage boys that want to be cool, but if you don't mind an action-adventure filled with kaiju then this could be your thing. There is genuinely a lot to love here.

First, the presentation. The art direction is really unique with some really cool, but eerie, kaiju designs and even Duncan himself has a really great look to him. The environments look great, from the high school to the canyons. The cinematography is also really stellar. It's slick, but keeps focus on the action in a really compelling and epic way. But then there's the animation in motion. The animation can be quite inconsistent. At times characters move really smoothly, in a believable fashion even. Then there's times when the animation is a bit janky and almost puppet-like. It can be a bit jarring.

Firebreather also has a pretty good soundtrack. A catchy theme song, that's pretty much the typical badass rock song you here in many action-fantasy animations, but with a bit more angst. The more low-key tracks, such as what we hear in the first seconds of the movie, the music we hear in the canyons and even calmer moments at the school have a mellow and almost dreamlike nature to them. The overall atmosphere of the movie is also pretty well done, as it fits with the slightly mature story. The movie juggles between light-hearted, high school teen drama and a more eerie kaiju fantasy. It's really compelling.

Finally, there's the story and writing. Firebreather has a pretty good narrative premise, but the execution leaves a little to be desired. I think the story and plot is decent. Duncan's character arc is good and he does come with a bit of nuance. What the story struggles with is the world around Duncan. There are certain things that aren't explained all too well and the worldbuilding feels a bit sloppy. But what REALLY impressed me about watching Firebreather, after so many years, is how great the writing is. The dialogue in this movie is honestly the best part of the whole thing. There's so many clever lines - backed up by great performances - and there's just a suave feeling to it. The writing is sharp, sometimes mature, and just really entertaining. Although one thing that plagues the story and writing on a slightly obnoxious level is the whole theme of 'father figures'. There are quite a few times when the conversation of growing up without father figures feels forced or heavy-handed. At times, it makes the overall theme of the story come off as kind of cringeworthy. And the story unfortunately suffers from that, too. But in more positive terms, there are also some REALLY great scenes and setpieces throughout the movie. These scenes showcase the strong animations and presentation, as well as the writing chops that the movie has going for it.

Firebreather is a good time if you're looking for an underrated gem of an action-adventure animation. It's got some great action, punchy writing, a good atmosphere, some mature themes, and a mostly great look. If you can get past some of the worldbuilding shortcomings and the teenage angst, Firebreather is a nice little treat and a forgotten Cartoon Network classic.

The movie is also based off a series of comics, if you're looking to dig deeper into the world of Firebreather. Although, said comics are a lot more gritty and unapologetic than the film, which is a bit more sanitized.

The Killer is an odd action flick that might not click with everyone. It's a movie that appropriately paces itself to enhance the occupation of our protagonist. That's to say, the movie requires some patience. It starts off very slow and steadily picks up the pace, but even then it maintains a moderate pace. The movie is more of a suspenseful thriller than the typical action movie.

To add to the odd pacing, there's also the psychological storytelling and character study that makes up most of the narrative. The story is essentially a look into the mind of The Killer - an examination of his philosophies, and essentially how he struggles to keep up with his own philosophies. The inner monologues are compelling if you're into it and sometimes clever. But they can definitely be annoying or a turn-off if you're not into how frequent they are. The story is at its best when The Killer is alone and isolated from the world. The movie's presentation and direction during these moments feels more arthouse than a big budget action-adventure is supposed to feel. Now while there is an overarching plot at hand, it lacks the build up and urgency that it almost desperately needed. The story, outside of The Killer's inner monologues and character examination, is about a failed assassination that results in immediate consequences that interfere with The Killer's personal life. This enables the titular character to go on a revenge quest where goes through a checklist of antagonists. Antagonists who are quite flat and act as a poor attempt of expanding the world of this globetrotting story. It's unfortunate, because the plot here isn't bad, and the story structure works for this kind of movie and the story it's trying to tell. There's something almost video game-like about this movie (in fact, this movie shares a lot of similarities with the HITMAN video game franchise in terms of the slower pacing and The Killer's assassination methods shown in the opening sequence). But, the lack of character development for the ensemble hurts the urgency and emotional weight of the revenge quest, as well as wastes the story structure that should've been used to flesh out the antagonists more.

Some other things to note is the overall presentation of this movie. The art direction is stellar. The cinematography is sharp. The soundtrack is suspenseful - abrasive, but minimal. The sound design is punchy and the audio mixing on Michael Fassbender's voice overs are bouncy and crisp. Not only does the movie look good, but it sounds great.

The Killer is a very weird movie if you're looking for a mindless action-thriller. It's a movie that takes itself seriously and does have some complexities in its narrative when it's not focused on its promising, but fairly skeletal plot. The pacing is much slower than what many might be used to, and the constant monologues might not be everyone's cup of tea. But the real seller of this movie is Michael Fassbender's portrayal and the story's characterization of the titular character. The movie really excels when it focuses on our protagonist and his personal struggles. Outside of that, the plot and supporting characters lack nuance. But the movie is quite the looker in terms of its art direction, cinematography and locations. And the sound design, as well as the soundtrack, is rich with ear-stroking mastery.

The first Project CARS was amazing. A sim racer that was an ambitious and diverse sandbox, where tools to customize your experience were accessible enough for even the more arcade racing fans to enjoy. The presentation was slick, atmospheric and serious. And the gameplay was challenging, but manageable. Overall, Project CARS was a great time.

But Project CARS 2 takes things in an even more simulated direction. The handling model is a lot more unforgiving. The customization is a lot more mathematical. It is VERY serious this time around. To a slight detriment. While the handling is a lot more unforgiving, it is undeniable that the cars slide and oversteer a lot more this time around. Project CARS felt planted, but Project CARS 2 feels sensitive and floaty. Frustratingly so. You NEED to play Project CARS 2 with a wheel to fully grasp the handling model, unlike Project CARS where I was having a blast with just the gamepad.

Also, the presentation here feels a lot more stripper down than the first game. Menus are a lot less stylish and convenient. The soundtrack isn't as memorable or compelling. And despite the addition of some new race types (off-road racing), they don't do much for the overall game. Project CARS 2 feels a bit inconsistent at times.

Even more so, it feels like a bit of a chore to play. If you're a die hard sim racing fan who's looking for something that is hardcore and technical, Project CARS 2 might be your cup of tea. But for those who liked the first game's planted handling model and slightly forgiving nature, Project CARS 2 might close you off from its new content.

Project CARS is a community driven game at heart. It's presentation and various options for players to modify their driving experience is the type of thing you'd see in PC exclusive racers like Assetto Corsa or iRacing with lower budget productions. But Project CARS is an upper mid-market racing game that is of a AAA quality. It's gorgeous to look at, the sound design is rich, the vehicles are really well-modeled and the atmosphere is intense and very much reminiscent of Slightly Mad Studios' previous work on Need for Speed: SHIFT.

Project CARS is a sim racer, but because far you can customize your driving experience, you can really turn this game into a simcade racer (arcade handling, simulator physics). Or if you really want that challenge, you can turn the game into the most hardcore sim racer to ever exist. But what's really impressive is how consistent and how well the game plays with either style of play. Cars can be tough to control if you're careless, but the game is fairly easy to figure out and a lot harder to master. Cars feel grounded and the physics aren't extremely unforgiving, but they still require some skill. There's a large selection of cars and tracks, and experimenting in the free play mode really opens up a racing sandbox mess around in. And it is addictive when things click and you find the right settings for your playstyle.

The soundtrack and atmosphere also require a mention here. The soundtrack is amazingly done. It tells a story and sets a suspenseful tone off the track. It's epic, it's interior, and the comm calls mixed in with the orchestral and electronic elements really enhance that atmosphere of intensity in the world of motorsport.

Project CARS is the best sim racer on the market and a sandbox for sim racing fans.

Blood Diamond is a surprisingly fulfilling adventure film. It's got the blockbuster action and various locations, but it also has the dramatic story and themes to boot. Not only that, but the story being told here is genuinely well-crafted and respectful. Backed up by some mostly stellar performances from the cast, and Blood Diamond is a gritty, action-adventure story that no longer gets made in this day and age. With all that said, I've got some nitpicks.

The biggest mistake this movie makes is the romantic arc between Danny and Maddy. It feels a little bit unnecessary and takes away from the bigger and more powerful story at hand. The build-up and pay off isn't all that well done, in my opinion, and ended up dragging the first half of the movie down a bit. But once that arc takes a backseat, the movie and story really gets going and it is a thrill!

Another, more minor, gripe I have with the story is how the blood diamond is portrayed. There's a decent chunk in the middle of the movie where it feels like the blood diamond is almost forgotten about. There's no build-up or heightened importance surrounding the diamond to the point where I almost forgot they were looking for it. That's just me, though.

But at least all of those flaws are almost overshadowed by some great characterization, great set pieces and a beautiful conclusion. The intense drama, the grim adventure and some of the emotion is all here. And Blood Diamond is a treat because of it.

Despite the series really finding itself and breaking through with games like Far Cry 3 and Far Cry 4, it's Far Cry 2 that is by far the most interesting game in this fairly long-running series. The reason why is because of its rawness and unique experimentation. Far Cry 3 sanitized what Far Cry 2 was, in order to appeal to a mass audience. But Far Cry 2 kept it unfiltered and avant-garde. In many ways, Far Cry 2 shares a lot in common with Ubisoft's previous release, the original Assassin's Creed. In that they are both games that have become their own, as sequels would expand but also dumb down the serious and experimental nature of these games.

Far Cry 2 is really interesting in how it delivers its story. The plot seems fairly barebones, but the real story comes from the games themes and how the player actively makes an example of those themes through gameplay. It's how the player completes objectives that truly tells the deeper story and feeds into the game's themes of mindless killing and dehumanization. And while the story features many different characters that you come across in such a bloodthirsty quest, the most interesting character is really the antagonist - who might just be the most underrated Far Cry "villain" in the series. The Jackal. The Jackal further questions the themes of the story and comes with a whole slew of philosophical audio logs that are extremely well-written and showcases the best voice acting in the game (voice acting in this game is very oddly paced and presented, but The Jackal just compelling to listen to). It's a thematically driven story at heart, which later games would shift away from (which was the same case for the first Assassin's Creed game).

The gameplay is by far the most divisive and most unique aspect of the game. It's a different kind of survival game. Shootouts are intense, but are made even more so when your weapons can jam and even break right in the heat of battle. It's a game that encourages spontaneous and on the fly thinking. Your gun is jammed? Quickly pick up a dead enemies' weapon and change tactic. Or you can run and gun while constantly picking up weapons. The open world is also very hostile. Enemies encounter you with their vehicles or wait for you at random outposts, ready to rip you apart. Not only that, but you also have to watch out for Malaria (one of the more controversial elements of the game) which can make the game a bit obnoxious, but definitely keeps the stakes high. In other words, the game is challenging and a bit harder to get into than later games. The gameplay was really filled with multiple great ideas that needed expanding, but that later games trivialized or completely removed. Essentially, removing the challenging aspects to make the games more accessible. Hence, why Far Cry 2 feels so raw in its rougher and harder presentation. When you get the hang of the game's unforgiving nature, it truly shines.

Lastly, the overall presentation. Far Cry 2's art direction and visual style is very gritty. Brown color palettes and grimier environments. It fits the game's grim tone and the idea of an African bloodbath. Even better is the stellar soundtrack by Marc Canham. The soundtrack fuses elements of traditional African music with elements of dark psychedelia. Creating an atmosphere that is rich with culture, but that is also grim and psychologically tormented.

Far Cry 2 is the series at its most daring. It's challenging in its gameplay and thought-provoking in its narrative themes. In many ways, Far Cry 2's niche and unforgiving nature makes it feel like a sort of mid-market arthouse game. And because of that, Far Cry 2 is the most Far Cry game I've ever played in the series. Unsanitized, grimy, yet thought-provoking.

While Size Matters is considered the superior Ratchet & Clank game on handheld devices, it still doesn't really say much. To put it simply, Size Matters and Secret Agent Clank are promising spin-offs with very questionable executions. Which is unfortunate, because on paper Size Matters is almost perfect. A handheld Ratchet & Clank game that very closely replicates what made the mainline games so great? Absolutely! And while it mostly delivers on that promise from a gameplay and level design perspective, other aspects including the gameplay and level design are still unpolished.

Let's get the story out the way first. Ratchet & Clank, since its inception, has always had animated stories with digestible plotlines, alongside some humorous and mature writing to go along with the mostly family-friendly adventures. Every Ratchet & Clank game before this has had some very notable writing, in terms of its memorable comedy, vibrant worldbuilding, and entertaining characters. Size Matters has none of those. The charm and quality of the narrative is VERY dry compared to the mainline games. Humor is gone, dialogue is lazy, characters are extremely flat and the story is really just there to give context to gameplay scenarios, rather than to tell a consistent story. But it's really shocking to see how appalling the script actually is here. The story is so rushed and all of the charm from the characters has been reduced to the flattest of personalities. It's so very strange how little personality the story has here, especially coming from a mainline series that's very well-known for their cartoonishly comedic stories.

At least the gameplay fares much better, but even it has problems. The basic foundation of the gameplay is exactly what'd you expect from the mainline games and it plays mostly well. Except there are design choices that make the gameplay a bit more infuriating. Sometimes inputs don't register as consistently. The way health damage works here is also far too punishing compared to the mainline games. Most of the weapons here are kind of boring and lack the punch. And boss fights are really bad. Cheap, in fact. The best part about this game is really the level design and how the open-ended nature of the mainline games translates well into a handheld game. Exploration and some of the platforming is really compelling. Some of the maps/levels here are genuinely well-made, ultimately being the highlight of all of my playthroughs of this game.

I've been comparing the game to its mainline installments, which isn't very fair. So, how does the game stand on its own? Well, the story is still very simplistic and half-baked. The gameplay (combat and platforming) is still the best that the PSP library has to offer (even on PS4/PS5, it is still mostly competent) and many new fans will find it really enjoyable.

Size Matters is a good attempt at translating the mainline philosophies of Ratchet & Clank on console to the downscaled nature of the PSP. It's still a good handheld game in that regard. As a standalone game, Size Matters delivers on its gameplay front. As a spin-off, it is questionable and very obviously rushed in many of the series' defining aspects. It's mostly fun while it lasts, but it leaves far too much to be desired in other aspects of presentation.