Trailer Time: Batman - The Telltale Series, Episode Two: Children of Arkham

Today we can unveil the gripping new trailer for BATMAN - The Telltale Series - Episode 2: Children of Arkham. With Gotham City's first family mired in corruption, and an old friend now a dangerous adversary, the life of the Dark Knight is turned upside down. What was Thomas Wayne entangled in, and why was he killed? Determined to learn the truth about his father, Bruce sets out to question those involved in Gotham's criminal past. But which mask will he wear - The billionaire, or the bat? Huge decisions will forever change the Batman and the lives of those around him, as he meets the Children of Arkham.

The second of five episodes in the season, Episode 2: 'Children of Arkham' will be available digitally worldwide starting Tuesday September 20th on PC from the Telltale Online Store, Steam, and other digital distribution services, on the PlayStation®Network for PlayStation 4, and on the Xbox Games Store for Xbox One®. Release dates for additional platforms will be announced later in September.The series is also available to purchase at retailers in North America now as a special Season Pass Disc, which includes the first of five episodes in the season, and will grant access to the subsequent four episodes as they become available for download via online updates. The series will also be available to purchase at retailers across Europe on September 16th.

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The series is also available to purchase at retailers in North America now as a special Season Pass Disc, which includes the first of five episodes in the season, and will grant access to the subsequent four episodes as they become available for download via online updates. The series will also be available to purchase at retailers across Europe on September 16th.Rendered to look like a living, breathing comic book, Telltale's vision of Batman features an award-winning cast of talent, including Troy Baker in the role of Bruce Wayne, Travis Willingham as Harvey Dent, Erin Yvette as Vicki Vale, Enn Reitel as Alfred Pennyworth, Murphy Guyer as Lieutenant James Gordon, Richard McGonagle as Carmine Falcone, Jason Spisak as Oswald Cobblepot, and Laura Bailey as Selina Kyle. Additional cast and characters will be revealed as the season progresses.

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Rendered to look like a living, breathing comic book, Telltale's vision of Batman features an award-winning cast of talent, including Troy Baker in the role of Bruce Wayne, Travis Willingham as Harvey Dent, Erin Yvette as Vicki Vale, Enn Reitel as Alfred Pennyworth, Murphy Guyer as Lieutenant James Gordon, Richard McGonagle as Carmine Falcone, Jason Spisak as Oswald Cobblepot, and Laura Bailey as Selina Kyle. Additional cast and characters will be revealed as the season progresses.BATMAN - The Telltale Series Episode 2: Children of Arkham is rated M (Mature) for Violence, Blood, and Drug References by the ESRB. Future content in the season is yet to be rated by the ESRB. The series is published by Telltale Games in partnership with Warner Bros.

BATMAN - The Telltale Series Episode 2: Children of Arkham is rated M (Mature) for Violence, Blood, and Drug References by the ESRB. Future content in the season is yet to be rated by the ESRB. The series is published by Telltale Games in partnership with Warner Bros.

Constantine: The Complete Series Arrives on October 4th

Darkness is rising, demons are everywhere … and one man stands between humanity and its worst nightmares: John Constantine. Warner Archive Collection (WAC) and DC Entertainment bring the live-action television series, Constantine: The Complete Series, to Blu-ray™ and DVD on October 4, 2016 via WBshop.com, Amazon and popular online retailers. Based on the wildly popular DC character, seasoned demon hunter and master of the occult John Constantine (Matt Ryan) is armed with a ferocious knowledge of the dark arts and a wickedly naughty wit. He fights the good fight – or at least he did. With his soul already damned to Hell, he’s decided to abandon his campaign against evil … until a series of events thrusts him back into the fray, and he’ll do whatever it takes to protect the innocent. With the balance of good and evil on the line, Constantine will use his skills to travel the country, find the supernatural terrors that threaten our world and send them back to where they belong. After that, who knows ... maybe there’s hope for him and his soul after all.

constantine-blu-rayMatt Ryan (The Halcyon, Criminal Minds: Suspect Behavior) stars as Constantine, a role he has since reprised for Arrow and as the voice of the animated character in the upcoming Justice League Dark.

“Actors don’t generally like to revisit their own filmed performances, but I really enjoyed watching the episodes myself because Constantine is such a bold, outright character – both to play and to watch,” says Ryan. “He’s this brilliant ball of wise-cracking, chain-smoking street magic – and it’s so much fun exploring his fascinating, dark world of torment and mystery. I’m happy the fans will now have the opportunity to experience the series on Blu-ray, plus all the bonus features.”

The cast features Angélica Celaya (Dallas) as Zed, Charles Halford (True Detective, Agents of S.H.I.E.L.D.) as Chas and Harold Perrineau (Lost, Blade: The Series) as Manny.  Guest appearances include Jeremy Davies (Justified), Lucy Griffiths (True Blood, Preacher), David A. Gregory (One Life To Live), Michael James Shaw (Roots, Limitless), Claire van der Boom (Game of Silence, Hawaii Five-0), Skyler Day (Parenthood), Mark Margolis (Better Call Saul, Breaking Bad, Oz), Charles Parnell (The Last Ship), Michael McGrady (Ray Donovan, Southland), Joelle Carter (Justified) and Max Charles (The Strain, The Neighbors).

Writer Daniel Cerone (“The Mentalist,” “Dexter”) serves as executive producer with David S. Goyer (“Man of Steel,” “The Dark Knight Rises”). “Constantine” is produced from Bonanza Productions in association with Warner Bros. Television. The show is based on the wildly popular comic book character from DC.

Configurations

Audio: English DTS MA 5.1 for BD, 5.1 Dolby Digital for DVD

Subtitle: English

Content

Disc 1

  1. Non Est Asylum
  2. The Darkness Beneath
  3. The Devil's Vinyl
  4. Feast of Friends

Disc 2

  1. Danse Vaudou
  2. The Rage of Caliban
  3. Blessed Are the Damned
  4. The Saint of Last Resorts: Part One
  5. The Saint of Last Resorts: Part Two

Disc 3

  1. Quid Pro Quo
  2. A Whole World Out There
  3. Angels and Ministers of Grace
  4. Waiting for the Man

EXTRAS 

  • Constantine: Trailer
  • Constantine: On the Set
  • 2014 Comic-Con Panel Q & A with Cast and Creators
  • DC Comics Night at Comic-Con 2014 Presenting Gotham, The Flash, Constantine and Arrow

Review: Bonobono E.01

I decided to go back and watch the very first episode of Bonobono, and lo and behold I found out that the main blue sea otter actually has a name: it's Bonobono... Other than that, I also realised that while deadpan can be great, if done well, dry humour just really isn't for me or rather the type of dry humour, in this show anyway. At certain points in this episode where I guess you were supposed to laugh, I found myself staring blankly at the screen. If anything, I felt awkward and embarrassed for the creators of the show. Is this really funny? I know everyone is entitled to their own opinions and preferences, so maybe there are people out there who find these shows funny, but I can definitively say that I am not one of them. BonobonoIn this episode Bonobono goes into the sea to play; he recalls the time of when his dad said to him that he looks funny when riding the waves. He also remembers when his dad did it as well (ride the waves that is). While playing in the ocean, Bonobono spots his friend Racoon - whom I presume doesn't have a name due to the fact that in episode 22 Bonobono referred to him as Racoon. Racoon is responsible for providing slapstick humour... ... or at least he's supposed to be. He just seemed like one of those typical violent friend characters, though.

Bonobono asks Racoon to play with him in the ocean, but when Racoon inquires as to what they should play, Bonobono responds by saying "rock, paper, scissors?" which understandably results in him getting a punch in the face by Racoon. However, there were two (THAT'S RIGHT TWO) funny moments in this episode. The first was Bonobono's blank gaze as he rode the waves and the second was Racoon's butt sticking out of the wave.

Unfortunately, it looks as if my earlier judgements of the show were spot on; I won't be watching this again.

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Bonobono E.01

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Review: Bonobono E.22

Recently I've been watching anime shows that have a short running time for a change. So far I've actually enjoyed the seemingly brief yet funny and immersive narratives. However today I was reminded as to why I was so hesitant to view these type of shows in the first place. Urgh...It gives me a headache just thinking about it. Perhaps I'm being too judgmental; I've only watched one episode and it just so happens that the episode I watched was the most recent; maybe if I go back and watch the previous episodes I may come to realise that I like this show.  I don't know. Watching this episode was like watching paint dry. I don't think it helped that the main character had a monotone voice. BonobonoI may not have mentioned this earlier, but I approached this anime without any prior knowledge about the story or its characters, so I can't really say that I had any particular expectations. I had a suspicion that it would be funny to some extent, but that was about it. However, only seconds into the episode I found myself trying to identify what species the blue character was and kept ruminating on why the chipmunk didn't look like a chipmunk; I was so distracted by these things that I lost track of what was actually going on in the episode.

I'm not entirely sure how to explain what happened in this episode, so I do apologise in advance. In this episode, the blue talking animal (which I later found out was a sea otter) goes searching for the rock he hid a while back. He digs around, finding snakeskin and crab pincers that his raccoon friend turned into a scarf fad and a walnut from the time his chipmunk friend suggested that walking around with a walnut in your mouth would make you look cool. In an effort to locate his (almost human-shaped) rock named Peijin, he turns to his dad - who surprise, surprise also has the same flat-toned voice as his son. Unfortunately, papa otter turns out to be pretty useless in the search. Afterwards, the main otter (sorry I don't know his name) starts writing memos everywhere, and by this point, I had lost complete interest.

I didn't really get this anime, so as much as it bored me to tears, I endeavour to watch the first episode in the hope of proving my first judgements wrong.

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Bonobono E.22

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Unboxing: Loot Anime – August 2016

Get back to school with this edition of Loot Anime, still an awkward name. Just embrace the "Crate" aspect of your business already Loot Business. See, "Crate Business" sounds much better. Anyway, the theme is school. High school. And if you can afford to get this, you're not in school. To be open, it's mostly crap this month. Like... really bad crap. If you skip watching, we won't blame you.

Review: Bananya E.02

Oh. My. Gosh. There is more than one banana-kitty hybrid, four to be exact. Bananya number two, three, four, five, etc. have officially entered the building (or kitchen to be exact). In this episode, the narrator (that's right there is one, but I have no idea who it is) introduces the four bananyas. Honestly, I was just going to refer to them as Bananya one, two, three, and four, etc. but I guess that would be a little mean. However, technically as a bananya is not strictly an animal (it lives in a banana peel), it wouldn't be that cruel or far-fetched. BananyaOkay, moving onto the names now. I just have to point something out here; I would have most likely referred to the bananya's by colour, if not numbers, so I'm a little disappointed that the creators chose to name one of the bananya's Black Bananya. Really? Where is the creativity? I guess it's not all bad, though; Tabby and Banankyo (everybody's Madonna) are pretty um unique. Banankyo or Maddonya (the only female bananya) is hilarious; she is aloof, cute and maybe a little stuck up. Tabby, on the other hand, is so sweet; it's so obvious how infatuated he is with Banankyo.

Oh but wait, Tabby's younger brother known as Mackerel Tabby, might just take the prize for the sweetest bananya. Then there's Prince Charming or Long-haired Bananya, who seems completely oblivious to everything around him because he is too concerned with grooming himself (I think someone might love themselves a little too much). Ha but it doesn't seem to stop Banankyo from liking him (poor thing needs to get her eyes checked).

Next in the line-up is Bananya Bunch... Baby Bananya (too cute) and Daddy Bananya (which means glasses; no dad is complete without his glasses).

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Bananya E.02

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Review: Bananya E.01

Oh. My. Word...A cat just came out of a banana peel... (what is this?) its approximately 56 seconds into the anime and I'm kinda freaking out. I mean what's next? Cats growing of apple trees? Wait cats don't grow at all; I mean they do but not off trees. I am on the verge of losing all my sanity here. Someone, anyone, please help... So here's the thing, I love banana's, but I don't think I'm going to be able to look at one for a while after watching those mere 56 seconds. To add insult to injury, the cat (or kitten) is actually really cute. I just want it to hop on out of that peel, but you know seeing it's a comedy I think the chances of that happening are really slim. Bananya I've decided that, as cute as the kitty is, the whole kitten living in a banana is just pure and simply creepy. Especially when it moves, jumps, hops, whatever.

However, there is no denying the fact that every time it says "Nya" I can't help but respond by thinking "Awww." Whoever came up with the idea for this anime is very shrewd. I want to stop watching, but at the same time, I have to keep watching.

Shrewd but not very innovative. Bananya. "Bana" "Nya” But on the other hand, maybe a simple play on words is all this anime needs. I don't know; what I do know is that bananas, kitties, and banana-kitty hybrids don't and can't dream. But even if they could, would a banana-kitty hybrid really dream of becoming a full-fledged chocolate and sprinkle covered banana? Well?

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Bananya E.01

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Review: The Tick - Pilot

Amazon Pilot Season is here! What does that mean and why the hell should I care? It appears to be Amazon’s slightly weasely means of getting out of putting its weight and money behind a variety of shows catering to different interests by backing the pilot episodes of three different shows and letting the public decide which show is worth the most money. In my opinion, the other two shows look just awful, so The Tick gets my vote for simply being the most immediately clever and colorful show. For perspective’s sake, I liked the old cartoon show, did not like the old live-action show, and I never read the comics. The Tick, as a character, is best not when engaging in visual gags like his contemporaries Freakazoid! or Earthworm Jim, characters known for their engaging encounters with their villains but in exchanging wacky, almost-mundane dialogue with his sidekick Arthur. This is probably the reason that the original live-action show seemed like a solid idea. Which it was. I just take extremely petty issue with their execution.

So how’s the pilot to the new Tick? God help me I have no idea. I understand what a risky thing this is to say for a reviewer, but hear me out.

The Tick, again, in contrast to Freakazoid, The Mask, or Earthworm Jim, has always been a parody: every aspect of it is ingrained in being a twist on the conventional formula. The Tick himself being an idiot is a joke on both the ridiculous degrees of heroism displayed by normal superheroes and something of a performance gag based on his ludicrously muscular appearance. The Terror being geriatric is a gag based on the concept of the elder space-villain, and his age having an effect on his performance as a villain is consistently funny. Arthur being both a mockery and kind of a dweeb is a play on the sidekick’s usual resignation to "the brains" to the hero’s "brawn." Freakazoid’s a freak because being a freak is funny, but the joke doesn’t rely on pre-established knowledge like The Tick does.

Tick_Landing_page_750x375._V282759396_That being established, I cannot tell, for the life of me, how much of this new Tick is a joke. A shocking amount of time is given to the character of Arthur and his tragic backstory: spaceship lands on his father and the superheroes inside are blinded by space-syphilis and shot to death. Attempting to play that angle straight to any degree seems like a joke in itself, but lo and behold, characters take genuine pity on him and his sister takes a deeply personal interest in making sure that her brother is healthy. These scenes are played with equal parts silence and somber music. The degree to which it appears to be sincere is difficult to explain because explaining it sounds like the show is trying to be funny about it.

I’m not convinced that it is trying to be funny about it, though. It’s as if this show is literally trying to make my job harder on me.

The Tick himself takes up about 30% of the screen-time in this pilot and what I can say is that his presence is a genuine delight. Save for the dodgy CGI that surrounds his scenes and a suit that’s not totally visually appealing; The Tick is written as masterfully as he ever was and Peter Serafinowicz is a phenomenal actor, doing an amazing job with the part. The Tick's pilot would have been served much better by not focusing on Arthur's development before becoming a superhero but rather his development as a superhero. I understand this to be a pilot, and its efforts are in making sure everything is in place, but this pilot is also trying to sell the show as a whole to both its producers and audience. Spending so much time away from the show's main draw was always going to be risky, and I don't think it paid off this time.

This review is tough because while 30% of the show is funny and compelling, I can't tell how much the other 70% of the show is. If it isn't kidding, then the makers aren't phenomenal at character building and can only advise that they spend as much time on The Tick as possible, whether in or out of his suit a la Deadpool. If it is, I advise they spend more of their time on better, funnier jokes in the future.

This is assuming The Tick has a future. I will say I genuinely hope it does if nothing but to see what little character development we are given pay off and to see "average" fulfill its promises of being "good."

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The Tick - Pilot Director: Wally Pfister Writer: Ben Edlund Studio: Amazon Studios

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Review: Ozmafia!! E.04

The female albeit masculine sounding Don (top mafioso) of Famiglia Adelheid, Heidi (another Ozmafia in-game character) takes centre stage this episode as the cafeteria lady of Oz Academy. In the original plot line, Heidi runs her own dairy farm with cheese as her best-selling product and acts like a sister to the heroine (whose name is malleable). Heidi, in this episode, is undeniably an identical copy of her in-game persona. She is loud and overbearing, not to mention overflowing with boundless confidence that borderlines arrogance. Despite her umm minor character faults, she's not one to withhold help from someone who is in need of it. This is particularly apparent when we see her give Scarlet back the money he forgot, presumably after paying for his lunch. That small gesture and her words of caution “to be careful” depicts Heidi as a caring sister figure. Until her attention is quickly stolen by So-kyon?

OzmafiaBut the curtain does not fall there, because next up to make another appearance is the ever so tsundere, Caeser. After Heidi says her goodbyes, Scarlet finds an empty seat, which just so happens to face Caeser, in the dining hall. Almost immediately Scarlet (also known as Little Red; check out the Ozmafia game to find out what I mean) begins to back away while apologising to Caeser (also known as Ookami or the wolf) but is stopped midway by Caeser who gives him permission to sit with him.

Heidi interrupts Scarlet's lunch with Caeser by telling Caeser off for not eating his vegetables. She argues that he is disrespecting her as the "big sister" of the cafeteria, to which Caeser responds with "Big sister? Don't make me laugh, you hag."

Hahaha, charming Caeser.

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Ozmafia!! E.04 Official Site

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Review: Ozmafia!! E.02

Admittedly, I'm rarely the type to watch spin-offs of anime shows, games, or short anime episodes in general (especially those that last for the duration of 5 minutes) but shockingly enough (I can't believe I'm actually saying this) I can now say that I've had a change of heart. Recently, I've been watching more of these short spin-offs of popular otome titles (last week I watched Hakuouki), and I have to say I've been pleasantly surprised at how funny they are. Naturally, when I first found out about the upcoming short anime adaption of Ozmafia, I was a bit... okay, EXTREMELY startled. I've played the game, which is unique and interesting in itself. But an anime... Let's just say I was skeptical, particularly because of talks about how it would veer off slightly from the original plot line. However, it turned out that my concerns were unwarranted, as Ozmafiathe characters in this adaption are exact replicas (except for the changes in occupation) of their game personas. The story centres around the protagonist Scarlet - a member of Famiglia Grimm in the otome title - who joins Oz Academy, where he meets Kyrie, Caramia, Axel (his teacher) and Caeser (who is a security guard).

Although an entire episode lasts for only four minutes, the time does not fly by as expected. I felt as if I had watched a full-length episode. The anime features the same soundtrack like the one in the game, and the artwork is cute yet simple. The artwork is very similar to that of the chibi variety, except that instead of being drawn as overly cute miniature copies, the characters have been drawn with softer features.

In episode 2, Scarlet receives his marks from a quiz and is given the title "useless little transfer student" (ouch) from Kyrie, who shamelessly uses scare tactics to persuade him to join his "club" in order to "remedy" his poor grades. Unfortunately, Caramia's attempts to thwart Kyrie's "suggestions" for how to improve Scarlet's marks, fail, and as a result Scarlet ends up joining Kyrie's Remedial Class.

The humour is pretty unoriginal, but it's funny nonetheless.

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Ozmafia!! E.02 Official Site

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Review: Kubo and the Two Strings

Nearly nine months into 2016, and I can name like six movies I have enjoyed. Mercifully, Kubo and the Two Strings makes it seven. If you must blink, do it now.

This is Laika Entertainment’s fourth stop-motion animated feature (after Coraline, Paranorman, and The Boxtrolls), so how does it rank? Well it’s certainly better than The Boxtrolls, though admittedly I can’t give a fair judgement of Boxtrolls because I nearly got into my first fist fight as an adult because of it (don’t bring toys for your dumb kids to play in the aisles with to a movie, and don’t start shouting in someone’s face when you get called out for being inconsiderate). But I digress.

Kubo is an adventure movie through and through; an eleven-year-old boy must recover an unbreakable sword, an impenetrable breastplate, and an invulnerable helmet, with the help of a talking monkey and a samurai beetle-man. Standard stuff, right? Well yeah, kinda. The story is your conventional hero’s journey with a couple of artistic flourishes here and there. I can’t fault the film too much for just telling a simple story, but Laika did give us Coraline and Paranorman (Coraline being a masterwork, and Paranorman being a worthy follow-up), so the standards are higher. But this is also the year of The Secret Life of Pets, Norm of the North, and The goddamn Angry Birds Movie; the saying goes “After you hit yourself with two hammers every day, getting hit by just one hammer feels good” and this is just a teeny tiny for-cracking-hardboiled-eggs hammer. It’s such a minor quibble.

Kubo and the Two StringsStorytelling and music are a big motif of the film, with Kubo and his mother using a shamisen (thank you, Google) as a magical weapon and for Kubo to control his origami creations. There’s a wonderful sequence at the beginning of the film where Kubo plays his shamisen and tells stories of his dead dad in the village. Hey, a story about storytelling, and it never really gets meta with it, which is nice. I think the monkey makes one out-of-character crack about an origami samurai “looking like scissors were involved” and that’s about it.

Let’s talk the voice cast for a minute; this is one of the few aspects of the film that is hit-and-miss. First, a hit, Matthew McConaughey – he really is the most charming man on the planet. McConaughey plays a manic amnesiac samurai/beetleborg, simply named Beetle, his only vague memory being that he must’ve served Kubo’s father. There’s an ethereal quality to a performance when an actor really enjoys their role, and ho boy did he clearly have a good time; it’s unlike anything I’ve seen him do. The best way I can describe his character is a combination of Jack Sparrow and Dug the dog from Up. Yeah. That beautiful velvety-voiced man. The McConaissance continues.

A miss for the cast is Charlize Theron as Kubo’s guardian, a monkey named Monkey; which is a shame, she’s a good actress, but she doesn’t bring much to a motherly straight-man role. (Insert the picture of Charlize dragging her kid out of her car that went around the gossip circle a few months ago) It reminds me a lot of Meryl Streep’s underwhelming vocal performance in Fantastic Mr. Fox. She’s unusually flat and to use an acting term, she mostly spends the movie indicating her emotions as opposed to actually feeling them. Some people just aren’t meant to stand in a dimly-lit sound-booth alone and just act, which I think is the case here.

Another sort-of-miss is the Three-String Samurai himself, Kubo, voiced by Art Parkinson (Rickon Stark from Game of Thrones… yeah). Clearly, someone at Laika is a big fan of Game of Thrones because this is the second Stark child cast as the lead in one of their movies (Isaac Hempstead-Wright, Bran Stark, voiced the main character in The Boxtrolls). But y’know that show has bad actors too, right? *cough* Emilia Clark & Sophie Turner *cough*.  He’s serviceable as the hero child, but only just, good child actors are hard enough to find – good child voice actors are nearly impossible.

An awesome surprise is Rooney Mara, voicing the spooky specter women in pursuit of Kubo. This goes back to how Matthew McConaughey clearly relished his role, and Rooney just went for it. I can imagine she looked at the script and thought “Wait, I get to cackle fiendishly? Oh hell yeah!”

The last two name actors are Ralph Fiennes as Kubo’s malevolent grandfather the Moon King, and George Takei as Featured Extra #2. Both are criminally underused; Fiennes is more limited by being the final boss character; but Takei, also the largest role voiced by an Asian actor, has about three lines – one of which is obviously “Oh myyyy.” Question: Does this film count as white-washing? It’s certainly a murky topic to begin with, and further complicated by this being an animated movie. But then again, I guess wouldn’t every English Dub of an Anime count as white-washing? I’m not ready to make a judgment here. Just something to think about.

** I should also mention that the design work from Laika is as spot on as always. I adore their use of UV/Blacklight effects, it's a brilliant visual that I don't think we get to see in other films, nor should we, it's that special Laika touchstone. The actual visual from the trailers that mentally sold my ticket was of Kubo's 'Aunts' floating across a river, those haunting geisha-masked women are probably some of the most evocative and memorable character designs I've seen this year. The only things even worth mentioning negatively are a sailboat Kubo composes from leaves, the idea behind it is solid, it just has a muddy color palette; and then the final monster looks a bit too much like the Leviathans in The Avengers. Again, teeny tiny egg-cracking hammer.

Man, stop-motion animation is beautiful, amiright?  The work Laika is doing visually is truly inspiring at times; as part of the end credits – they show you the animation of the giant skeleton monster, and it’s not just huge in the context of the film, that puppet is easily ten feet tall. Showing behind the curtain like that has to make you want to bust out your camera and try a little animation yourself. It’s such a crime that stop-motion animation seems to always stall out with unappreciative kids, why do movies from Laika or Aardman Animations (the Wallace and Gromit people) always lose out to Dreamworks or Blue Sky? Take your kids to see these movies (just don’t drag them out to evening shows, those are for people who want to actually enjoy the goddamn movie). We gotta get them hooked; we can’t let them be the generation that ends smoking stop-motion animation.

If you have even the slightest inkling to see Kubo and the Two Strings, get out there and see it. Support your local major motion picture. In a year of garbage movie after garbage movie, you can do so much worse. Maybe you’ll even get to have a good time.

For the love of God, don’t choose to see Sausage Party over this.

Also stay for the end credits, there’s a nice cover of While My Guitar Gently Weeps by Regina Spektor; and also stay because that crew killed themselves making this movie for you.

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Kubo and the Two Strings Director: Travis Knight Writers: Marc Haimes, Chris Butler Distributor: Laika Entertainment/Focus Features Rating: PG Run Time: 101 Min

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Review: Hakuouki Otogisoushi - E.02

Short but sweet! Hakuouki Otogisoushi is definitely the anime to watch if you are the type who enjoys viewing a show that features original characters but with a new plot line. Hakuouki Otogisoushi includes the main characters from the widely popular series Hakuouki, which ran for 3 seasons; the original story centres around the female heroine Chizuru Yukimura who travels to Kyoto in hope of locating her father. While looking for her father, she witnesses a man being slaughtered ruthlessly by crazed group of men in blue and white jackets. In the midst of the onslaught, one of the mad men spies her watching and in a frenzy, attempts to end her life.  However, her life is spared by the Shinsengumi vice-commander Toshizo Hijikata, who then takes her into custody for interrogation. Once her intentions for being in Kyoto are made known, the Shinsengumi agree to provide her with lodging and help her find her father.  As the series progresses, we see Chizuru steadily transform into a member of the Shinsengumi and learn the truth about her past and the shady series of experiments her father has been conducting. The reason behind the acts of violence, caused by the deranged men in blue and white (who are actually Hakuouki-Otogisoushi_shinsengumi members) the night Chizuru arrived in Kyoto, is also brought to light. On the other hand, Hakuouki Otogisoushi solely focuses on the funny, albeit silly interactions that Chizuru experiences with the Shinsengumi members and the characters outside of the Shinsengumi. In episode 2, Hijikata and the other members of the Shinsengumi seem to have a very serious meeting over... who should be the one to flip the omelet over. Toshizo, being the courageous vice-commander he is, decides to take this burden upon himself, but...umm...fails to live up to his role (he breaks the omelet in half).

The last segment of the episode features Yamazaki's attempt to obey Hijikata's order to rest (which is hilarious). He first begins by mumbling "rest" over and over again, receiving a funny look from Okita as a result, then goes to Hajime for advice on how to rest. Hajime, being the strong serious type, offers him a rather unique explanation of what rest is and suggests to him to practice sword swings?...

If you are looking for something less story driven and light hearted, I would definitely recommend this.

Hakuouki Otogisoushi is a show worth watching.

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Hakuouki Otogisoushi - E.02

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Review: Danganronpa 3 The End of Kibougamine Gakuen - Mirai-hen E.04

Wow. I did not expect that at all. Danganronpa episode 4 has bested the previous episode and exceeded all my expectations once again. In this episode we learn of Munakata's plans to use Naegi as bait to lure out the "real" attacker, as according to Munakata the "real" attacker's plan is to use a sacrificial pawn to infiltrate the Foundation, and thus become a hero who survived the game. Danganronpa 3 The EndThe attacker's newfound status would effectively give them control over the Future Foundation, particularly if Naegi was among one of the survivors. The irony of this would be that while proclaiming hope the attacker would use Hope (Naegi) to deeply plant the roots of despair. Twisted no?

But it does not stop there, because Munakata's ploy to identify the traitor is foiled, and instead, another meaningless death arises. To make matters worse, the most unsuspecting (in my opinion) character turns out to be the most suspicious and it appears like there could be another traitor in the midst? Truly fantastic. By the end of this episode I was rendered speechless (hence the decrease in word count. Sorry, Dustin). This episode is chuck full of surprises.

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Danganronpa 3 The End of Kibougamine Gakuen - Mirai-hen E.04

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Shout! Factory Announces North American Release of "Long Way North"

Shout! Factory Films announced today that acclaimed animated feature LONG WAY NORTH, a film by Rémi Chayé, will open theatrically on September 30, 2016 in Los Angeles, New York and select major markets, to be followed by openings in additional cities. Directed by celebrated animator and filmmaker Rémi Chayé and produced by Sacrebleu Productions (Oscar®-Nominated Madagascar, Carnet de Voyage), Maybe Movies (Oscar®-Nominated Ernest & Celestine) and Norlum Studios (Oscar®-Nominated Song of the Sea), France 3 Cinéma and 2 Minutes, LONG WAY NORTH won the coveted Audience Award at the Annecy International Animation Film Festival and the winner of Grand Prize and the Governor of Tokyo Award at Tokyo Animation Festival 2016. This captivating animated adventure, bolstered by emotionally resonant storytelling and visually exquisite hand-drawn animation, has continued to attract universal acclaim as it enchants movie audiences around the world.

A spirited and inspiring tale of hope and courage, LONG WAY NORTH is the feature directorial debut of lauded animator Rémi Chayé (first AD and head of storyboard for Oscar®-Nominated The Secret of Kells,The Painting) and tells the story of a young heroine, persevering through a physical and emotional journey to find her explorer grandfather and his lost ship, the Davai.

image003LONG WAY NORTH is set in the late 19th century Saint Petersburg. Sacha, a young girl from the Russian aristocracy, dreams of the Great North and anguishes over the fate of her grandfather, Oloukine, a renowned scientist and Arctic explorer who has yet to return from his latest expedition to conquer the North Pole.

Sacha has always been fascinated by the adventurous life of her grandfather and has the same calling as Oloukine to be an explorer. But Sacha’s parents, who already made arrangements for her marriage, strongly disapprove the idea to say the least. Defying her destiny, Sacha flees her home and launches an adventure-filled quest toward the Great North in search of Oloukine and his ship.

LONG WAY NORTH features an exceptional English voice cast of Chloé Dunn, Vivienne Vermes, Peter Hudson, Antony Hickling, Tom Perkins, Geoffrey Greenhill, Claire Harrison-Bullett, Bibi Jacob, Martin Lewis, Tom Morton, Leslie Clack, Kester Lovelace and Damian Corcoran. *French voice cast include Christa Théret, Feodor Atkine, Thomas Sagols, Rémi Caillebot, Audrey Sablé, Fabirn Briche, Gabriel Le Doze and Boris Rehlinger.

Sacrebleu Productions and Maybe Movies present LONG WAY NORTH

Directed by Rémi Chayé; written by Claire Paoletti and Patricia Valeix; produced by Ron Dyens and Henri Magalon in co-production with Jean-Michel Spiner, Claus Toksvig Kjaer and Frederik Villumsen. A co-production of Sacrebleu Productions, Maybe Movies, France 3 Cinéma, 2 Minutes and Norlum.

Animated feature LONG WAY NORTH opens in U.S. cinemas on September 30, 2016

The film is rated PG and has a run time of 81 minutes. For more information about LONG WAY NORTH, please visit LongWayNorththeMovie.com

Two Reviews: Suicide Squad (2 of 2)

Suicide Squad enters the third installment of the DC Extended Universe. It tells the story of a group of criminals forced together to save the world from an ancient threat. By now, most people have heard a lot from both sides on the film quality, so here’s the next drop in the ocean. My take away from this film is, while there are pacing and editing issues present, they aren’t nearly as glaring as they were with Batman V. Superman: Dawn of Justice. What I’m beginning to think is that these problems are going to be consistent across the board until we get to a point where there are less visions flashbacks. These tend to be the more jarring suicidesquad-poster-team-xeyespoints of the film, but Suicide Squad worked them in as best as they could and each one worked and served a purpose.

DC has been called out on what many would call “questionable” casting choices. Jared Leto and Will Smith received a good bit of criticism; however, Smith delivered as Deadshot. The unofficial leader of the Squad was given the lions’ share of development, but it was certainly earned, as Smith's character provided a good bit of the humor many claim the DCEU sorely needs.

Not to be outdone, Leto’s first outing as the Clown Prince of Crime, while contained to a subplot, has done the job of making me interested in his character and literally left me wanting more. Funny, flamboyant, and daring, if this was any indication, Gotham City will be quite the fun place to visit come The Batman.

Unfortunately, some will be a bit disappointed in this portrayal of Harley Quinn, as she seems quite enamored with The Joker. Flashes of brilliance are there, and Margot Robbie looks keen to play the character for years to come, so seeing a more independent Harley isn’t totally out of the question, but there’s no room for that going solely off of Suicide Squad.

Surprisingly enough, El Diablo was arguably the fan favorite of the film, by the end of it. A character many would dismiss as a stereotype was given quite the development near the film's third act and had a truly astounding finale to his arc.

Unfortunately, but realistically, it left me wanting more from some of the other Squad members. Captain Boomerang, Katana, Killer Croc, Slipknot, and even Flagg to an extent kind of missed the character development train, but for most of them, the chance to show up elsewhere in the DCEU (in Batman, The Flash, and potentially Green Arrow) eases the pain a bit.

The story of the film is solid, and a bit of a twist just going from the trailers. The actual story, was pretty classic comic stuff, and as Flagg said in the trailers, fits the Squad MO. Go somewhere dangerous, that’ll get you killed. It worked in a lot of ways, with the twists and turns that really highlighted the characters personalities.

I liked the twist that was played throughout the film that, instead of having the characters revealed as better people than they think they are, they went in the opposite direction—showing our “heroes” aren’t as good as they think they are.

PHegBTgmDg3jhh_1_lThe visuals during most action scenes were amazing. Though, I think, as many have suggested, the DCEU could do with more fights going on during the day. It just makes things easier to see, and when you do it in 3D like I did, being able to see things more clearly is a huge bonus. The effects though, were top-notch. The work on the “magic” elements was so impressive.

Lastly, some claimed the villain was “weak.” (Spoiler Alert!) However, I have to disagree. Their motivation was classic: revenge. Nothing breathtaking, but works. Enchantress clearly outclassed everyone and was a real, global threat. Strong actor portrayal, though admittedly I don’t know Enchantress well enough from the comics to compare, but simply as a character, the performance was enjoyable.

Overall, this was what the DCEU needed. It showed depth and added to the world in positive ways, and hopefully some of the techniques that went into this will be used down the line. People wanted humor? You got Joker, Harley, Deadshot, and Boomerang. You wanted color? This film is pretty stylized in shades of purple and green. There’s red, blue, and all that. Oh, and the soundtrack? Top notch, for sure. Even got Sucker for Pain on my phone.

So that’s my critique, but I’m not critic. I’m just a fan. A DC Comics fan. I liked BvS and Man of Steel too. In my opinion it goes Man of Steel > Suicide Squad > Batman V. Superman. The film is not without fault, but that goes for any film. It’s strong suit is where it’s such a self-contained story, that it doesn’t give any real buildup to anything so everything is focused. Helping translate that into more of the films will help a lot. At this point though, I think it’s just the DCEU way, and maybe for the best.

You really want to know if you’ll like Suicide Squad? Just go see the movie and make your own assertion. It’s really the best way to know if you’ll like it or not.

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Suicide Sqaud
Director: David Ayer
Writers: David Ayer
Studio: DC/WB
Run Time: 123 minutes

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Two Reviews: Suicide Squad (1 of 2)

Written by Jake Wood

DC, Warner Brothers, Geoff Johns. You can’t keep hurting people like this.

To confirm your fears, yes, Suicide Squad is a terrible … terrible film – BORDERLINE hilariously bad (Comic Bastards contributor Justin Wood – no relation – will probably disagree and say it was actually hilariously bad, as he was cackling like a madman beside me through nearly the entire movie). It’s a complete shame, this was supposed to be DC’s Ace, right? This was supposed to be their Guardians of the Galaxy, this was supposed to be the counter to Man of Steel and Batman V Superman, this was supposed to be ... fun. Before the go-hard, angry DC mob starts sharpening their shivs, let me tell you briefly where I’m coming from.

Despite how hard I’ll ream this movie, I’m actually a DC fanboy. Green Lantern and Batman are my absolute favorites, and have been since I was a child. Geoff Johns’ near-historic run on Green suicide-squad-movie-2016-posterLantern is what got me in to comic books in a more serious capacity as a teenager. I’ve since lapsed in keeping up to date with Who’s-Who-In-The-DCU, but DC Comics has always held a special place in my heart. Why does Marvel have to have such a monopoly on quality comic book movies (though outside of Deadpool, they’ve been slipping as of late – but I digress)? It grieves me that outside of near-masterpieces Batman Begins, The Dark Knight, and (some will debate this) The Dark Knight Rises, DC/Warner Brothers can’t make a good live-action comic book movie to save their lives.

I started a joke, which started the whole world crying. But I didn’t see, that the joke was on me.

Let’s begin with where hope for this film was originally lit, the 2015 SDCC trailer for Suicide Squad; I re-watched it after seeing the final film, and damn is that probably the movie that writer/director David Ayer set out to make. That trailer, which DC/WB confusingly slut-shamed us all for watching bootlegs of (its 2016, leaked cellphone Comic Con videos are not something new … assholes), was haunting and dark and serious; DC was bringing out the bad guys – something which Marvel has never really been able to compete with DC over.  This was NOT the movie we received; so what changed? January 19th, 2016. This is when the sultry sounds of Bohemian Rhapsody by Queen was brought in to the marketing campaign with that awesome first full-length trailer; likely the higher ups were seeing the writing on the wall - that the doom-and-gloom DC Cinematic Universe wasn’t meeting audiences’ needs, they wanted something different, something light-hearted, something weird, something fun. Almost assuredly they went in to full on meltdown mode when the frankly invigorating Deadpool opened and made just a stupidly-large amount of money (to date, Deadpool grossed more domestically than Batman V Superman and only 90 million dollars less internationally – at less than 1/4th the price); not only did Deadpool make all the Olivia-Munns (heh, you passed up Deadpool for Xmen Apocalypse), it was also significantly well-received by both critics and audiences. So now DC/WB had to scramble.

For those who don’t know, movie trailers are mostly cut by small contractors specializing in trailers and tv-spots; the contractor for Suicide Squad’s Rhapsody trailer, Trailer Park, was reportedly brought in to help with the editing of the final film – or as also reported, likely hired to edit a completely separate cut of the film from David Ayer. Based on the final version of the film I saw, it’s pretty clear that DC/WB took their wacky Trailer Park cut, and David Ayer’s cut, and smashed it together. John Gilroy is the sole credited editor, this man has edited films like Pacific Rim, Nightcrawler, and Narc (also Billy Madison – but I guess you gotta start somewhere); unless John Gilroy had a horrific motorcycle accident last year – this was clearly taken away from him and slapped together by hired guns and executives shooting wildly in to the air, hoping to hit anything. It’s utterly horrendous, it’s also inconsistent. I’ve seen where much ado has been made over the tacky pop-up graphics when characters are introduced, which are annoying and pathetic, but at least two members of the team inexplicably don’t have their stupid bios on screen: Katana, and Slipknot (who?). The Joker, while technically not a member of Task-Force X, doesn’t get one either, but Enchantress, also not part of the team lineup (also the main villain by the way), does.

“Aren’t Will Smith and Margot Robbie highlights of the movie though?” You may be asking. “What about Jared Leto’s inspired Joker performance?” It’s actually completely maddening how not one single character in Suicide Squad is done well. Not one. Maybe Viola Davis’ Amanda Waller skirts by. This is not to say it’s entirely the actors faults though, several members of the cast are good if-not-great actors: Will Smith, Margot Robbie, Jared Leto, Viola Davis, Jay Hernandez, Adewale Akinnuoye-Agbaje (Mr. Ecko!!!). David Ayer seems to have directed all of these actors as if Suicide-Squad-Slipknot-posterHack/Fraud Amateur-Director Jake Wood had directed them. It’s gonna get as tiring as the character biographies in the actual film, but let’s run down the list (and by that I mean, say a lot on a few bigguns – and then cram the rest in at the end).

Margot Robbie – One of the two most-talked about performances in the film, does she at least do Harley Quinn (arguably the most anticipated remaining comic book character to have yet appeared in a live-action film) justice? Y’know, Margot Robbie is probably perfect casting on paper, and she does her damnedest. She seems to have had the time-of-her-life in the role, but every line coming out of her mouth is poorly written and every choice for her made by the director leaves us wanting. Why is Harley Quinn even on the team (because the script said so)? She has no power, she’s not some well-renowned fighter, or anything like that. She has a baseball bat and a gun (that never needs reloading – but y’know… movies); she’s just a liability on the team, an insanely beautiful liability. I should also address the objectification factor a little bit, which, as a living human person, I admittedly appreciated the costume choice of New 52 Harley Quinn booty-shorts (If you’re worried – yes, your precious jester outfit makes an ultra-brief appearance too). I’ve seen some criticism that “the amount of Margot Robbie butt-shots outnumbers the total number of shots for some supporting characters”; well I kept track, and I counted roughly 15 hottie-boom-bottie glamour/butt-shots – actually a difficult task when you have to make a distinction as to whether the shot just happened to have her hot-pants in it, or if it was intentionally setup to highlight her butt or not. I'm sure to many, 15 objectifying shots is 15 shots too many, and I certainly can understand that, but that number is far less than I would have expected. I actually think there’s a different character that people should be more up-in-arms about (Enchantress). Also they actually bothered to give her a bra, and this is knowing that she spends the last 20 minutes of the movie completely soaked, so there’s no repeat of Kirsten Dunst’s glass-cutting nipples in Spider-Man here. We’ve come a long way people!

Will Smith – You turned down Independence Day Too for this? For this??? I’m so sorry. I don’t have too much to say about Deadshot. Will Smith is Will Smith, nothing particularly special. His character is one of the few that actually makes sense to be on Task Force X (I’m also admittedly not an expert on Deadshot, so I couldn’t tell you how true to the character he is). Being the only certifiable movie star, Big Will gets the first introduction in the film (oddly enough, before even Amanda Waller and the concept of the team), and has to pretend to be fatherly to a poor child actor that will sadly never make a real career out of this acting thing. Why wasn’t Jaden just his kid? Even though Deadshot’s kid is a daughter – from what I understand, Jaden would love that kind of challenge; or why not the "Whip My Hair" girl, Ziggy Smith or whatever her real name is? I want to insult the daughter (did she even have a name?) more, but I don’t feel comfortable with it unless one of Will Smith’s actual talentless kids played the part. I’m sorry you had to get “Skwad” tattooed on you (much like the cast of The Lord of The Rings, the Suicide Squad cast all got tattooed together).

Academy Award Winner, Jared Leto – Sigh. You were in Lord of War, man. So DC’s Cinematic Universe’s Joker is here. Gangsta-rap Joker, everybody. It’s as bad as you feared, and his role is as small and inconsequential as you feared. He’s so serious, except for literally one line about grape soda. If you’ve never seen FilmCow’s great YouTube video The Joker’s New Tattoos, finish reading this review, then go and watch it (it’s a minute long). Obviously they had to step away from Heath Ledger’s iconic performance, or Jack Nicholson’s iconic performance, or Mark Hamill’s iconic performance, or Cesar Romero’s iconic performance, but Jared Leto’s Joker is just all over the place, and he’s clearly enamored with his own shtick (I hope Ben Affleck tells him to leave all the dead animal gifts at home when his Batman film happens). I’m sure David Ayer thought this was the next Jack Sparrow (Fun fact: Johnny Depp got an Oscar Nom for the first Pirates). I’m not even mad about 99% of the tattoos, or the grills, or the VIP Playah look; really, it’s modern and Jim Lee’s Joker with the Yakuza tattoos worked for me. It just bothers me to no end that they Suicide-Squad-Joker-character-posterput “Damaged” on his forehead, I can tolerate literally all of it – except that one. It’s just the bottom-of-the-barrel Hot Topic idea for the Joker, it’s stupid, and shallow. Harley Quinn has “Lucky You” tattooed on her pelvis, but personally it would’ve been the greatest joke ever if she had a matching “Damaged” scrawled above her baby-maker.

Joel Kinnaman – I had heard that Cara Delevingne’s performance is the worst in the film. This came in to doubt when Robocop Remake Joel Kinnaman opened his mouth. Holy cow is he insufferable. His character, Rick Flag, is annoying and doesn’t pull his weight. How was (the originally cast) Tom Hardy supposed to work with this? Twice in the film his character is overwhelmed and has to be saved by the real stars of the film. He’s only in this movie because Rick Flag was a founding member of the team in the books, and also because someone had to fall in love with Enchantress so they could have some faux-emotional-investment.

Cara Delevingne – My alma-mater once did a children’s stage show of The Lion, The Witch, and the Wardrobe, and in it, the girl who played the White Witch gave this amazingly shrill and over the top performance - that was great in the context of an amateur stage play meant for little kids. On an unrelated note, Cara Delevingne is terrible and couldn’t act her way out of a wet paper bag in this major motion picture meant for adults and teenagers. I suppose I’m half out of line with any comparison to that White Witch performance, because she’s technically not shrill – as in her Enchantress form, she is dubbed over by a much deeper voice (recorded by an actual actress). Watching her chew the scenery like it’s never been chewed, I found myself imagining what her actual performance sounded like on set and just laughing to myself. Her movement is so stilted and awkward, it’s like she was doing a knockoff of that Samara ghost girl from The Ring but without the help of choppy editing. Watch her closely during the climax because she’s doing this hilariously bad belly dance jig which is meant to be her performing her spells. Earlier I mentioned that people should be more up in arms about Enchantress than Harley Quinn, because this girl spends nearly the entirety of the film in a Slave Leia + Pig-Pen from Peanuts bikini, or in her true-form where her magic-energy costume (not unlike 2009’s Green Lantern’s costume) is tastefully covering only her bits. None of these looks are ever remotely close to anything I’ve ever seen the character in (or that I can see in a Google image search). Her true-form (which I imagine was added in reshoots because it only recently started showing up in marketing) is nearly an actionable rip-off of Galadriel’s magical look in The Lord of the Rings, and oddly enough her headdress looks like something of Big Barda’s. Pretty girl though, she should be a model – oh right that’s where she came from. I’m so sorry this acting thing isn’t working out for you.

Academy Award Nominee, Viola Davis – She’s probably the person who’ll come out the cleanest on the other end of this disaster (which is really appropriate considering the character right?). Just one thing, though. Talking while chewing? That’s hella rude. You work with these people.

The rest of ‘em – Jai Courtney as Captain Boomerang, this is actually the least forgettable Jai Courtney has ever been. Most of the laughs actually revolve around him. Also remember that great moment where he cracks open a beer while shit’s going down? We never see where he gets the beer. An insert shot would’ve been nice, DAVID. Jay Hernandez as El Diabo, hey you have an actual superpower, way to go. You also ruined that great bar scene by awkwardly telling your TERRIBLE backstory that we didn’t need elaborated on. We got it, you did some bad stuff but now you’re trying to change. Adam Beach as Slipknot, a person who is definitely a beloved DC comic book character, and not just cannon fodder. Frankly, I’m glad there are more Margot Robbie butt-shots than shots of his character. Scott Eastwood as Unnamed SWAT Team Lackey; they’re trying to make him a thing right now, but he will soon go the way of Sam Worthington/Taylor Kitsch. Mr. Ecko from LOST plays Killer Croc and it’s maybe the saddest thing about this movie. They didn’t bother redubbing him, and it seems like his brain was lagging from the heat of being in that make up, Suicide-Squad-Character-Poster-Deadshothe’s barely understandable at times. The single worst line delivery in the movie is attributed to him saying he’s beautiful, I felt SO embarrassed for him. And lastly, Karen Fukuhara as Katana; I want to give her special commendation, going in to the final battle, there’s this weird moment where she is absolutely sobbing and saying goodbye to her husband’s soul (which is trapped in her magic sword) in case she dies. This was honestly the most touching moment of any sentiment in the film. You go girl.

Do you guys even care about the plot at this point? It’s pretty straight forward, which is apparently refreshing when compared to the simple plot of Batman V Superman (a joke – I haven’t bothered to watch BVS yet), it’s all just a single mission, no practice run, no training up the team, just “get this person out of a building in a city under attack by Enchantress.”  It’s kinda like Dredd, but with none of the redeeming qualities of Dredd. That’s the thing, I have the same criticism of Guardians of the Galaxy. Both movies were kinda built up as “we’re getting in to the weird stuff in our Universe,” but both films definitely pull their punches there and have really straight-forward plots. DC, you once had Superman sing a note to stop an evil math problem, you can get weirder than an evil witch tries to rule/destroy the world or whatever.

Holy crap is the music terrible too. Actually, the music is great; there’s not a noticeably-bad song featured in the film. Clearly this is where a huge Guardians of the Galaxy influence came in like a wrecking ball; Fortunate Son, Sympathy for the Devil, Dirty Deeds Done Dirt Cheap, fucking Spirit in the Sky – a song actually featured in Guardians! All the song choices are obvious, and used obviously. Remember when Tarantino would throw in a ringer song that you could never see coming? Also the soundtrack just keeps booping along obnoxiously, the first half of the movie seemed to be end-to-end songs – this half is also where I think Trailer Park had its strongest influence. Once things transition to the endgame, the mixtape music stops, and we get a pathetic limped-dick attempt at a Score for the rest of the film. One last note on the soundtrack that needs serious mention. Remember Bohemian Rhapsody? They freaking sold the movie to us on that song. Is it in the movie? Yes. Is it that bland and unnecessary cover by Panic! At The Disco (which is on the soundtrack)? Actually no. They use the legitimate version of Bohemian Rhapsody BUT it had to be no more than a minute of it. They don’t even reprise it during the credits. How do you do this? Gabe Hilfer and Season Kent were the credited Music Supervisors (typically the guys who suggest the soundtrack songs to the director and editors). Gabe, Season, what happened?

One final thing, because I feel an ulcer coming from all this bile (J/K it’s from all the Crystal Pepsi I’ve been binging) – I hate that they used some jaggedy font for the subtitles, just use a standard font please.

TL;DR – The movie sucks. I’m not just being mean because I love Marvel (because I don’t). Sincerely worried about Wonder Woman. Please don't kill yourself, Ben Affleck, you still do good work. Karen Fukuhara, I said something nice about your performance – my phone number is (***) ***-****.

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Suicide Sqaud
Director: David Ayer
Writers: David Ayer
Studio: DC/WB
Run Time: 123 minutes

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Review: Binan Koukou Chikyuu Bouei-bu Love! Love! E.01

Right, so it’s like this: I began watching the first season of this anime as soon as it was released with English subtitles; I remember eagerly awaiting the release of a new episode each week, excited and full of anticipation. However, at some point (I don't know when exactly) those feelings gradually became dimmer and dimmer... until I stopped watching the show entirely. Yes, I know it's a true shame. "If only you watched it till the end" is what some, few, all, or none of you might say, but that's all in the past now (and if necessary, I can always continue watching it from where I left off). What matters is the present; my thoughts on the first episode of the second season of the magical boy sailor moonesque Binan Koukou Chikyuu Bouei-bu Love! Love! also known - in English - as Cute High Earth Defence Club Love! Love!... ... okay so the English title is a little funny and unnecessarily long (I mean they could have used an abbreviation) but the show does fall under comedy, so it's to be expected right? ... Ahaha...

Anyway, the episode opens with four of the members of the Love! Love! Earth Defence Club members (it's my nickname for them) all talking (now this looks oddly familiar) in the public baths (real surprise there; check out episode 1 of season 1 and you'll know what I'm talking about). Then their former (I'm guessing) enemies show up and it all becomes a bit uncomfortable because (childhood friends) Kinshiro Kusatsu and Atsushi Kinugawa, who were former enemies but are now friends, albeit awkward, will soon have to say their goodbyes to one another as Kinshiro cute-high-earth-defense-club-animeKusatsu is going to study abroad. Fortunately, Yumoto Hakone - our fun, slightly dense wombat lover - comes to the rescue by requesting to see Kinshiro Kusatsu and his friends of, giving Atsushi Kinugawa a chance to say Bon voyage to his dear friend. Aww ain't that sweet; so sweet I think my teeth are about to rot.

Now this wouldn't be a typical Binan Koukou Chikyuu Bouei-bu Love! Love!  episode without some crazy weirdo hourglass monster making an appearance. However, this time the battle lovers have trouble immediately getting rid of the weirdo and transforming DUN DUN DUN, thus Yumoto Hakone's brother has to step in. Do I sense a new transformation coming along?

Naturally, it's just like the pink wombat said "in season 2, your items and designs always change..." Well there you have it folks, just in case you're wondering. New season means even more gaudier costumes and somewhat upgraded powers.

If funny, cheesy, light-hearted entertainment full of effeminate high school boys wearing garish sailor uniforms, and LOVE LOVE LOVE is what you’re looking for then Binan Koukou Chikyuu Bouei-bu Love! Love! is the show for you. Wow, that sounded like a line out of a commercial for some wonder working product, you know the kinds you see on QVC and other shopping channels.

Love is over. Or is it. I kind of want it to be... but don't want it to be at the same time. I'm trying to decide whether I loved it or hated it.

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Binan Koukou Chikyuu Bouei-bu Love! Love!  E.01

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Review: Cheer Danshi!! E.03

I'm a sucker for anime shows like this: novel and totally fresh. Who's ever heard of a show, not about cheerleaders but, cheer boys'! I mean, talk about stepping outside the box; yes I know that cheerleading is a sport, which means that there's nothing really new about another sport themed anime, but cheerleading is a sport that for a very long time now (until recently), has been solely associated with females. With all sports, cheerleading in particular, stereotypes both positive and negative often emerge. One predominant stereotype of cheerleaders that persisted in the media was that they were superficial, frivolous, and lightweight girls. Fortunately things are different now. Of course cheerleading is a sport not for the faint of heart. It requires a multitude of physical attributes such as: strength, endurance, flexibility, balance, coordination, you name it. CHEER BOYS YOWU(1)Anyway, back to Cheer Danshi!! The show presumably deals with numerous real-life issues and follows college students, and childhood friends (because it wouldn't be a sport themed anime otherwise) Haruki Bandou and Kazuma Hashimoto, and their attempts to form a men's only cheerleading team.

By the end of this episode Bandou and Hashimoto successfully recruit another member to join (the 7th member) the team, but have to overcome some hurdles in order to accomplish this, such as learning to perform a perfect (or near perfect) round-off back handspring. The three members who struggle the most with this include Bandou, Mizoguchi and Kouji who end up, not only being able to complete the move, but who also end up strengthening their friendships with one another. This becomes even more apparent when Mizoguchi starts sobbing once Kouji (one of the bigger statured guys) does the flip, which is both funny and heart-rending (at this point, I didn’t know whether to laugh or cry).

Overall, I would definitely say that this is the go-to anime for anyone who likes shows that fall under the slice of life or sports category. I give this episode, and the show so far, a thumbs up.

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Cheer Danshi!! E.03 Official Website

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Review: Batman: The Telltale Series - E.01 "Realm of Shadows"

Telltale Games has long since established themselves as some of the most savvy storytellers in video games, turning their simple point and click  "choose your own licensed property adventure" format into a fount for memorable moments and iconic characters all their own. It's a strength that came from taking familiar popular properties and putting effort into genuinely expanding them with their own signature, entering into franchises like The Walking Dead and Borderlands and creating installments that not only could stand as tall as their source material, but in some cases stand even taller. Having been handed the keys to the Batmobile by DC however, Telltale struck a tricky bargain, both getting to profit from one of the easiest to sell heroes in comics, but also tackling their oldest franchise to date, standing up to over 75 years of preexisting history and storytelling. Telling new stories in the vast unexplored decaying landscape of Robert Kirkman's zombie apocalypse is somewhat easier than in the confines of the well walked/glided/grappled streets of Gotham City. What could Telltale bring fresh to the Dark Knight's table that decades of films, television, and comics hadn't already? To be honest, not a whole hell of a lot, but that doesn't keep the opening chapter of their latest series from being a likable and engaging bit of interactive fiction. The first and biggest problem, one that serves as both as an assistant and a hobbler, is once again we're getting a Batman Universe prequel. Batman is already Batman, but like Arkham: Origins, Zero Year, The Long Halloween, and more than one Batman animated series, we're being treated to yet another take of how the relationships that form the world of the Dark Knight took form. That means pre-acid Harvey Dent, flirtatious first brushes with Catwoman, and trust issues with this Gordon fellow. In one way, it serves an obvious storytelling purpose, making the story widely accessible to casual Batman readers as well as having built in arcs for characters as they wind their inevitable way down established hero or villiandom. In another breath however, there's the problem of this being exceedingly well tread ground, making a lot of the storytelling feel rote and laid out, like sucking in a bit of stale air while in an old attic. I'll return to this subject later.

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The game exists in its own universe, made up of bits and takes from other Batman media. Telltale's Batman is younger, and in some cases lighter depending on choices, Troy Baker letting Bruce Wayne joke, sulk, and confide with uncharacteristic, but not unwelcome, freedom. Alfred's appearance seems to take inspiration from Micheal Gough's portrayal of the character from the Uslan produced films, one of the more tiresome portrayals in the game so far, less familiar fatherly wit and more a source of unending faux-poetic trailer bait monologue lectures. Carmine Falcone makes a plot-centric appearance, more the blunt arrogant Brooklyn thug Tom Wilkinson portrayed in Nolan's Batman Begins than the refined Italian-immigrant patriarch of Jeph Loeb. Even a brief Oswald Cobblepot appearance has a taller, lankier, younger design that suggests the Gotham portrayal of the character, though the comparisons end at superficial dimensions. Overall, it's a familiar feeling universe, if one that doesn't feel like it truly has its own personal identity.

The story is simple enough, with Bruce Wayne getting involved in politics to help his friend Harvey Dent in his bid for mayor, putting his public identity in the crosshairs of the incumbent mayor and invested crime families. While some might complain that the burden of the story is largely on the shoulders of Wayne and the politics rather than Batman, I actually found this a welcome change, as the action sequences here are serviceable but obviously an inferior experience to already available roleplaying in Rocksteady's Arkham line. Playacting as Batman in Bruce Wayne situations provided more interest to me, trying to play that fine line between intelligent strategist and immovable bastion of justice in Telltale's morally complex choice system providing my favorite moments.

There is a rub, obviously and it connects to both some of their recent, less successful, brushes with licensed properties as well as the prequel setting. Lately, Telltale has found themselves in some critical missteps with their Game of Thrones and Walking Dead: Michonne spin-off, less well received than their established critical darlings. In both cases, the games changed focus from original characters set in large, unexplored licensed universes to representing characters that already existed and whose stories continued past the setting of the game. With The Walking Dead and Tales from the Borderlands, the player was given responsibility for new characters, ones whose stories might cross paths with established figures from the franchises, but whose fates were undecided and permeable to change. When I play Borderlands, I play with the knowledge that characters I like, like Sasha, aren't bound by any outside narrative, and my choices might result in their early death if I'm not careful. It's a new story and I'm engaged by not knowing what comes next.

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Batman, by setting itself as a prequel to a familiar world, albeit its own version, sets a lot of these stories up to have endings I already know by heart. To quote another critic, characters like Harvey Dent have "future reputations that precede them." Why should I worry about coddling this character's feelings when I know he's inexorably headed for archvilliany? What motivation do I have to pretending that Oswald Cobblepot might be a good bloke when his path is set by his very name? Not to mention the practical immortality these characters are likely to enjoy through whatever dramatic tussle comes in the future, nobody I recognize the name of is likely to bite a bullet anytime soon. It leaves you feeling less like you have real agency in the story and more like you are just finishing Bruce Wayne's sentences, waiting for those big iconic moments of transformation to simply arrive.

Setting this story in an already established Batman universe could have remedied this, creating original antagonists for Batman and Fam to confront. Or perhaps even more creatively, Telltale could have really established their pocket universe as one with consequences and unique direction by proving their story wasn't going to run precisely by the rules. What if they had killed Harvey Dent in the first episode? Or Jim Gordon? Saying that this is a prequel to Batman's legend, but one that these new creators will determine the shape of, not established history. There are no great surprises in the first installment of Telltale's Batman, serving more as a decently polished, well acted, Batman story that caters to fans but doesn't offer them something new.

Despite these criticisms, I very rarely found myself bored, appreciating the decent writing and traditionally strong voice acting. As per usual with the more recent games, the elements outside of quick time events and dialogue trees are conceptually imaginative but ultimately feel more like padding, not really providing many options or challenges. New features of gameplay options have been added, allowing online audiences to vote on choices the player should choose in real time, primarily for the benefit of streamers and Let's Players, but not providing much of an added value for the individual consumer.

If you've enjoyed Telltale's output in the past, Batman is a likable play, if not one of the stronger installment's I've played of theirs. There's no immediate and addicting hook like the end of the first The Wolf Among Us episode had, or the thrilling and hilarious burgeoning adventure of Tales from the Borderlands initial entry. I may actually have a hard time remembering off the top of my head what exactly happened in this premier episode by the time the next installment is released. But even as a decently well-read Batman fan, I could enjoy this game despite the familiarity. It may play it safe, but they are still good storytellers and do the best with the limitations they impose (or had imposed). It may be well worn, but I'm still looking forward to the rest of this story, familiar as it may be.

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Batman: The Telltale Series - E.01 "Realm of Shadows" Developer: Telltale Games Price: $4.99 Platforms: Steam, X-Box 360, X-Box One, PS3, PS4

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Review: Pear Cider & Cigarettes

I was lucky to go into Vimeo's second original film blind. I remember seeing some of my animation industry friends sharing the Kickstarter link for the short when it was live, even thinking of dropping a few bucks in myself though I eventually wouldn't. All I remembered was the aesthetic: glossy, digital, and glowing with hot electronic colors. From the outside, it gives the impression it might be some sort of disco throwback noir, the title and style suggesting something sexy and crime themed. The truth is, the short is less of a freshly waxed sports car and more a quiet reflective conversation in a corner booth in a nearly empty bar. The story, apparently at least somewhat autobiographical from the life of animator/graphic novelist Robert Valley, unfolds slowly as a somber portrait of rocky friendship and the incredible toll life leans on the living, carefully revealing itself all while framed with peerless aesthetic clarity.

Narrated from Valley's perspective, the short film concerns the life and early death of his friend Techno, a vibrant but self-destructive young man whose life of excitement is quickly and irreparably paralyzed by his devastated health and spiritual isolation. Valley's guide is one of regularly wounded affection, sacrificing for his friend but unable to avoid being a witness and recorder of Techno's eventually fatal personal flaws. While Techno's life of adventurous and bacchanalian excess is explored, the story suddenly and wisely cuts it short, giving you a picture of his electric peak before quickly pulling the rug out for a grueling look at his sudden but excruciatingly elongated decline. It's not a portrait of a party lifestyle and its consequences as the bow on the end of the narrative, it's the story of a man who loved life in a way that killed him as well as the other man who was held prisoner by friendship to watch him die.

Pear Cider and CigsSomething I was unaware of when I agreed to review the short was that I was already quite familiar with Robert Valley as an artist, being the primary contributor to the character designs on the underrated and short-lived animated series Tron: Uprising. Valley's singular style is immediately apparent in his work, his figures designed with angular and exaggerated anatomy, at times equally grotesque as it is expressive caricature. In Pear Cider and Cigarettes, Valley is able to be even more free and stylized, adapting the pages of the graphic novel the short is based on with a look that comes off contradictively as both naturalistically gestural and glossily digital at the same time, using the book as storyboards for the art. One thing the viewer might notice is the short actually works more like a motion comic than a true animated film much of the time, with most shots being very subtly animated still images, full frame by frame animation shots being rare. While this might be seen as a handicap to the short, it never once took away from the film despite noticing this. The slight animation techniques used being expressive enough and intelligently utilized that it gives the "still images" more dimension and character than some fully animated flash cartoons. Valley's detail fleshing out the world and the careful attention to gesture delivered by the animation team sets the storytelling style beyond reproach, rich with surprise.

The audiowork rounds it out perfectly, with what looks like a very expensive catalog of licensed music to accompany the original contributions by Robert Trujillo. Smoky jazzy tracks from groups as disparate as Pink Floyd and Nightmares on Wax color the quiet rumble of the noir like narration, soothing and intimate, bringing you close to tell you previously unspoken secrets.

While a tough story to hear (and for Valley, I'd imagine, a tough story to tell), the short is a sad story, not a depressing one. There's a note of inevitability in Techno's eventual downfall and even his library of personal crimes along the way. A sense that for him, it would always end up this way somehow, a consequence of finding fulfillment in reckless and often selfish behavior. You don't hate him, even though you blame him. You don't mourn him, even though you feel the emptiness of his passing. While unflinching and presenting more flaws than admirable traits, Valley has crafted a beautiful, deeply felt tribute to his friend. One that invites you in to understand his friendship in a way that makes you feel his connection while only communicating in simple abstractions why he stayed so loyal to someone who only seemed to sacrifice when it was made biologically inescapable. It may have slick stylings, but the storytelling here results in one of the most real and grounded human stories I've experienced in quite a while.

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Pear Cider & Cigarettes Creator: Robert Valley Price: $4.99 (Rent), $8.99 (Buy) Available Here!

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