The Market of Light is a jaw-dropping Unreal Engine 5 powered photorealistic experience where you fly around a rustic marketplace collecting orbs of light.
The Market of Light is a jaw-dropping Unreal Engine 5 powered photorealistic experience where you fly around a rustic marketplace collecting orbs of light.
I’ll never have fun beating my head against adventure game puzzles, and this game even offers an easier mode which I declined to my own detriment. But the jokes land, the animation is astounding for a game of this vintage, and I had a lot of fun exploring all the pirate and gothic elements that have carried this series since the start.
I’ve enjoyed playing all of the Deep Space Nine video games this year, but this is kind of a down note compared to its more character-focused and bombastic predecessors. It’s just “faceless” as Eurogamer noted in their review, lacking the character moments that make this show special. The saving grace for me is the alternative history presented by its second campaign. It’s both horrifying and engaging as it strays from the path to present a “what if?” scenario akin to supposing that Germany won World War II.
It steps confidently and knows what it wants to be, what it wants to say. I had to watch it twice when the ending didn’t land for me initially, mostly because the ending of the first movie flares out spectacularly. But this movie isn’t trying to be that, and deserves its own look independent of how it got here.
This follows the same early (and uninteresting) beats as those pre-Taika Waititi Thor movies, all that high court family drama stuff, but it brings it home with some cool boss fights and proper martial arts action scenes. I think I’ll always be weighed down by a desire for more interpersonal scenes when MCU just wants to throw cool superhero shit at me.
You think you know where it’s going, then you know where it’s going, but it arrives there in such garish and stylish duds that you’re still stunned when it sashays into the room.
Don’t sleep on Copshop. It’s mostly a throwback to hyperviolent tough bro shootout movies but the chamber drama aspect and non-bro protagonist (who still channels BDE) mixes it up in an interesting way. Just well-performed all around. Also Toby Huss’s performance :chefkiss:.
I should have known Paul Schrader going in, but I didn’t realize the prolific catalog of his until Googling afterward. This new movie hits on moments and looks that are great, but feels off in the end, like budgets were cut or (quite possibly) adjustments were made for a pandemic. I felt like it needed an extra couple of scenes, maybe ten minutes or so. Something to connect the kid to Isaac’s character more effectively.
It starts out like a made-for-TV special about troubled teens, but then there are those scenes in Carrie’s house and any time she has to deal with bullies, and you know something’s not right. The way they build tension during a montage of senior prom scenes is perfect. It’s obvious what’s going to happen and yet your heart is pounding waiting for the drop, then it continues well beyond where it felt it was going to end. A renowned work for a reason built on stellar music and Spacek’s performance.
I’ll never have fun beating my head against adventure game puzzles, and this game even offers an easier mode which I declined to my own detriment. But the jokes land, the animation is astounding for a game of this vintage, and I had a lot of fun exploring all the pirate and gothic elements that have carried this series since the start.
I’ve enjoyed playing all of the Deep Space Nine video games this year, but this is kind of a down note compared to its more character-focused and bombastic predecessors. It’s just “faceless” as Eurogamer noted in their review, lacking the character moments that make this show special. The saving grace for me is the alternative history presented by its second campaign. It’s both horrifying and engaging as it strays from the path to present a “what if?” scenario akin to supposing that Germany won World War II.
It steps confidently and knows what it wants to be, what it wants to say. I had to watch it twice when the ending didn’t land for me initially, mostly because the ending of the first movie flares out spectacularly. But this movie isn’t trying to be that, and deserves its own look independent of how it got here.
This follows the same early (and uninteresting) beats as those pre-Taika Waititi Thor movies, but it brings it home with some cool boss fights and proper martial arts action scenes. I think I’ll always be weighed down by a desire for more interpersonal scenes when MCU just wants to throw cool superhero shit at me.
You think you know where it’s going, then you know where it’s going, but it arrives there in such garish and stylish duds that you’re still stunned when it sashays into the room.
Don’t sleep on Copshop. It’s mostly a throwback to hyperviolent tough bro shootout movies but the chamber drama aspect and non-bro protagonist (who still channels BDE) mixes it up in an interesting way. Just well-performed all around. Also Toby Huss’s performance :chefkiss:.
I should have known Paul Schrader going in, but I didn’t realize the prolific catalog of his until Googling afterword. This new movie hits on moments and looks that are great, but feels off in the end, like budgets were cut or (quite possibly) adjustments were made for a pandemic. I felt like it needed an extra couple of scenes, maybe ten minutes or so. Something to connect the kid to Isaac’s character more effectively.
It starts out like a made-for-TV special about troubled teens, but then there are those scenes in Carrie’s house and any time she has to deal with bullies, and you know something’s not right. The way they build tension during a montage of senior prom scenes is perfect. It’s obvious what’s going to happen and yet your heart is pounding waiting for the drop, then it continues well beyond where it felt it was going to end. A renowned work for a reason built on stellar music and Spacek’s performance.
