Robert Zemeckis’s return to live action cinema after ten years of horrible creepy mocap CGI animation, displays his trademark technical skill and habit for painting his cinematic landscape with broad strokes.
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First off, a hearty congratulations to Ben Affleck for getting an Oscar for Best Film, with Argo. I found his speech to be inspirational, as a budding screenwriter myself, I hope to shake his hand one day.
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It’s been forty hours since you entered the digital world. You’ve travelled far, reached the invisible wall preventing you from going any further. So you’ve kept yourself busy tackling side quests, finding collectables, progressing through the main story.
An hour into this game I had:
Remember watching Memento and realising the story was being told backwards but the character arc was moving forwards?
Realising that the narrator in Fight Club suddenly became very unreliable?
When Neo lifted his hand and said “No”?
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Netflix’s first foray into producing TV series begins with House of Cards, with the help of independent studio Media Rights Capital, David Fincher and Kevin Spacey.
With the impending release of the new entry in the Ghost in the Shell franchise, titled Arise, I was compelled to write about it. I say impending rather than anticipated, for a number of reasons I’ll outline below.
Leos Carax’s existential mind-trip begins with a cinema audience staring at you, curious sounds emanating from the unseen screen, the audience static, letting it wash over them.
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I love the stealth genre. It may be a remnant of my childhood antics, burrowed deep in my brain. Climbing over walls into peoples private property, running away from hotel garden-keepers, playing hide and seek in urban environments. Stealth games make me re-live these moments while also allowing me to knock people unconscious and hide them in cupboards.
First, some context for this review of the fifth iteration of Team Ninja and Tecmo’s popular fighting game featuring breasts with humans attached.
Cihan Narin 