Christopher Gray. T he Electronic Entertainment Expo presented an industry in transition. As the current console generation winds down and new hardware is still in development, the subject of how games will be played going forward has come into question, as the technology to stream games via the cloud supplants the need for consoles or PCs.
There was no greater sign of the shake up than the absence of one of the three major console makers: Sony. The company eschewed not only their usual press conference, but any showing at all. EA also elected not to host their customary press conference , instead opting for a streamed video presentation similar to the Nintendo Direct broadcast. As one live service game in an ocean, and created by a company with little experience making such games, Anthem was always destined to face an uphill battle; at this point, some four months after its release, turning the game around would require faith in the product and an evolving cycle of new content, both of which EA could have presented to the world here.
Alas, not even a mention across the entire show. Though the somnolent minute video that capped the presentation seems to promise a cross between Uncharted and The Force Unleashed , hands-on time with the game reveals that its closest analogue is Dark Souls , given that it takes place across large open areas with bonfire equivalents the protagonist can meditate at, which inexplicably revives all enemies. The combat feels like that of Dark Souls , with the fast-paced lightsaber duels of something like Jedi Academy replaced by slower, more precise one-on-one battles where you must manoeuver around enemies to fight them individually, and in a manner that recalls other From Software games.
Whether Jedi: Fallen Order will be as difficult as the Soulsborne titles remains to be seen, though one would assume EA would want the title to be accessible as possible, especially considering their recent and lousy track record with the franchise. The first official E3 press conference was presented by Microsoft, which had a stellar showing of new games and announcements. New titles demonstrated include Outer Worlds , a Fallout -esque sci-fi action adventure game, a new Battletoads game featuring bright and colourful cartoonish graphics, the latest iteration of Microsoft Flight Simulator , the next chapter in the Gears of War series simply titled Gears 5 , and survival horror outing Blair Witch.
If Google, or any streaming service, pulls the plug, purchased products simply go away. Which is why Microsoft is working toward a hybrid of cloud streaming services with traditional ownership models, where gamers will own their console and their games, but can also stream them to other devices to play games on the go using the cloud. Nuclear Winter is a surprising amount of fun, a squad-based battle royale allowing players to choose where they spawn on the map and then take advantage of classic Fallout devices while fighting to become the only survivor.
For example, becoming invisible with a Stealth Boy offers a fleeting chance to get the drop on enemies or flee an area teeming with overpowered opponents, or jumping into a set of Power Armor gives more health but impedes player speed and is loud enough to give away player location. At time of writing, Bethesda have made Nuclear Winter an indefinite add-on for Fallout 76 , which gives the populace at large a reason to try Fallout More notable, though buried within the conference, was the announcement of Dying Light 2 , which looks to be an ambitious and sprawling follow-up to the original game.
It boasts expanded parkour gameplay in a new environment that changes with player choice, promising to give fans a unique experience with each playthrough. Nintendo Direct closed out the conferences, announcing two new Super Smash Bros. Finally, a new Animal Crossing was revealed, with a fresh island setting, new crafting gameplay, and the inclusion of fruit stacking. After sideline missteps like Pocket Camp , Amiibo Festival , and Happy Home Designer , a new Switch entry seems to be exactly the shot in the arm that this beloved series needs to get back on track.
The City of God
Indeed, latest conference was as fresh, joyous, and deranged as its predecessors. E3 ran from June 11— The effect of the Toy Story films is practically primal. These films, with scant manipulation and much visual and comic invention, thrive on giving toys a conscience and imagining what adventures they have when we turn our backs to them.
Unless, that is, they had a douchebag older brother in the family who spent most of his childhood speaking in funny accents and hoarding his piggy-bank money to buy his first hot rod. Ed Gonzalez. Kurt Osenlund. The Good Dinosaur has poignant moments, particularly when a human boy teaches Arlo, the titular protagonist, how to swim in a river, and there are funny allusions to how pitiless animals in the wild can be. But the film abounds in routine, featherweight episodes that allow the hero to predictably prove his salt to his family, resembling a cross between City Slickers and Finding Nemo.
Arlo is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency. But, while admittedly low on the Pixar totem pole, Monsters University proves a vibrant and compassionate precursor to Monsters, Inc.
The template turns out to be a natural fit for the Cars universe, organically integrating racing into the fabric of the film and rendering it with a visceral sense of speed, excitement, and struggle. Fails and Talbot live and breathe their city, even as its dominant tech industry is wiping away its offbeat majesty. T he surrealistic verve of The Last Black Man in San Francisco often makes the film feel as if it exists apart from time and reality.
Gentrification moves beyond serving as just an empty thematic buzzword and emerges as a process that takes tangible effects in its characters. As Fails, playing a version of himself, attempts to reclaim an old Victorian home built by his grandfather, he must directly confront the social and economic forces leading to his own obsolescence in the city that made him.
Was the short film American Paradise your first collaboration together? Joe Talbot: No, actually, we made movies together since high school. One of our first movies was called Last Stop Livermore. Or just trying to level up a bit? JT: We did a concept trailer for Last Black Man five years ago that was closer to proof of concept for this.
It was essentially Jimmie skateboarding through the city. That was the first thing we did. We put it online not expecting anything to happen. But we started getting emails from people who wanted to join and help us. It was a chance for us to come together and make something en route to making the feature.
JT: A little bit, yeah! I had never been on a set. Part of it was that I knew I was gonna fuck up in some ways, so I wanted to lessen the chance of that. You mentioned there being a long tracking shot in the trailer, and a lot of those shots made it into the feature. JT: Yeah, I think the city lends itself to them in some ways.
Jimmie Fails: At the time that he did it, I thought it was very well put together. He edited and scored it himself. It makes sense why people reached out when they saw it. He did a good job. JT: Me, Jimmie, Khaliah, and a group of other people who saw that concept trailer became our film family. We spent these years working on it together. Then, Plan B saw our work, read the script, and we spent a little more time further developing it with them.
They came on to produce it and went to A24 to finance it. JF: We had big dreams! JT: It was an ambitious movie. It still felt in a way like a bigger version of the movies we made as teens, just with more people and more cameras. How did you all come to determine the visual or tonal language for the film? It seems like the story came first since it has such personal roots, but was the poetic and surreal nature of the project always evident?
JF: I think that just speaks to our imaginations as people. We always try to make the best stuff kind of dreamy. Ghost World was a big influence. JT: When Jimmie first told me the stories about his life, he always did it in that way. It was as much about the stories as the way he told them. And then, on top of that, he could take something that was true and then we could imagine. It was funny to think about Mike Epps driving around and not acknowledging that.
A lot of it was starting with something real and then going off into our imaginations as to what we thought would be fun to watch. I know that this project is an intense collaboration between the two of you, but Joe, as a white man conveying a very black story and history, was your job just to learn as much as you could from Jimmie and the community to be a faithful steward?
We grew up in the same neighborhood, so we were around a lot of the same people. It was very diverse. There [were] white, black, Latino kids. Obviously, our experiences are different: His parents are white, and my family is black. He was around. He was already there. A lot of his friends were black. His dad wrote a book called Season of the Witch that tells a lot of the black history that is important and central to San Francisco.
This felt like an extension of that. Had I come into a different situation, I might not be the right person to make that film. One of the first people to become involved, Khaliah Neal, is an East Oakland native who cut her teeth in New York producing. This was her first big leap into independent filmmaking as a lead producer, and she became our producing partner like Jimmie was my creative partner.
What inspired this scene and led you to put it in the movie? You meet so many different people. JF: Yeah. Now that this project has made you all cult heroes in the city, how do you view your role in the ongoing conversation about the future of San Francisco? Something else entirely? JF: I think a little bit of all of that. I think you definitely want to speak out if you can and let the voice be heard. Let our art create that conversation where there can be activism. Start the dialogue. We grew up on the stories of his activism.
Those two things feel like San Francisco the best: art and politics. With someone like him, you look up to him and hope you can carry on, in some very small way, the tradition that he set forward. Do either of you have theories about why this is all coming to pass now? JF: Well, those are both Oakland movies. Hopefully somebody else makes something else so we can have two.
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JT: Kicks and Licks. Boots Riley, long before that, recorded music in the Bay. Oakland has a really incredible history artistically. We feel it in different ways than they do in Oakland. I think this movie is us trying to wrestle with our own situation. Heymann is plainly enamored with his subject, and strikes a playful, upbeat tone in the establishing scenes. I was so excited that I forgot to turn on the sound. But Dov always seems to be optimistic, which is why I love being with him. In a particularly poignant sequence, Israeli Arab activist Hana Amoury explains, calmly and respectfully, that while Dov clearly wants to improve the lives of his Palestinian constituents, his desire to simultaneously be part of the Israeli establishment ultimately makes him an ineffective ally.
And several of the battles we witness Dov wage over the course of the film, including one on behalf of mistreated factory workers, end in decisive failure. At 22 years of age, Chile was abducted in her native Hungary and sold to Israeli sex traffickers, leaving behind a young daughter. She ultimately escaped her captors, but subsequently lived on the streets for years before conquering drug addiction. Thus, she hires a private detective and embarks on a quest that forces her to relive past traumas. Yet the odds remain depressingly stacked against her. Without permission to work in Israel, she finds herself lapsing back into prostitution to stay on top of legal costs.
However, as the investigation into the whereabouts of her captors begins to yield promising results, Chile becomes increasingly emboldened, and uses the filmmaking process as an opportunity to reckon with the ways in which sex work has shaped her identity and sense of self-worth. At one point she begins filming encounters with clients, as if to assert authorship of her narrative. But even among these glossier picks, tales of underdogs and marginalized communities took center stage.
At one point in the film, his chirpy demeanor cracks and he begins silently weeping for the friends he lost to the disease. The mother of a child gunned down at Sandy Hook penned it in an open letter. The Orlando Sentinel printed the names. Anderson Cooper recited them. A gunman murdered 49 people and wounded 53 others in the wee hours of that awful Sunday, massacring LGBTQ people of color and their allies in the middle of Pride Month, and the commemoration of the dead demanded knowing who they were. The titles on our list of the best LGBTQ movies of all time are a globe-spanning, multigenerational testament to our existence in a world where our erasure is no abstraction.
But this is surely a place to start.
Matt Brennan. Eric Henderson. Clayton Dillard.
Review: City of God | Film | The Guardian
Max Cavitch. Fernando F. Having never made a film before or after, Genet nevertheless had an in-the-bone awareness of the medium as a procession of raptures—visual, cosmic, sensual—that could match and expand the passion of words on a page. And the consequence.
- Alice et autres nouvelles (LECTURES AMOUREUSES) (French Edition);
- Slant Magazine.
- City Of God (Cidade De Deus);
The most complicated aspect of Rebel Without a Cause , and the thing that makes it seem daring even today, is its depiction of sexuality. And with Sal Mineo, he craftily put together a portrait of a tormented gay teenager. Dan Callahan. In that sense, few other contemporary drag movies can claim to be so modern as Some Like It Hot.
Dick Bogarde plays Melville Farr, a closeted lawyer victimized by an elaborate blackmail scheme targeting high-profile gay men. A duo of cops also provides an interesting dual perspective on the laws against homosexuality, with the elder being sympathetic and pragmatic and the younger entrenched in the more conservative majority opinion.
Mostly, Victim is fascinating for its consistent attention to the complex emotions of its gay characters, men who often show an unwavering honesty in respect to their sexuality. Meanwhile, Susan Sontag and Jonas Mekas heralded the film as high art, hijacking so Jack saw it his vehicle to bolster their tastemaker status.
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On the occasion of the release of Dark Phoenix , we ranked the 12 films in the X-Men series from worst to best. Jake Cole. The film eventually proves far more concerned with CG extravagance and big melodramatic moments full of grave soundbite-ready pronouncements than affecting relationships, thrilling conflict resolution, or a sense that the hectic proceedings are of any great consequence. Even if his animalistic Wolverine is reduced to a handful of tame one-liners, studly poses, and swift slayings, Hugh Jackman proves far more capable of transcending his goofy hairstyle than Halle Berry, unwisely given more to do this time around as dull weather woman Storm.
Yet The Last Stand is ultimately a dreary species of empty pomp and circumstance, far too similar to many of its summer-movie brethren—and disappointingly dissimilar from its superior predecessors—in that, in its single-minded preference for spectacle over substance, it seems to have been put together primarily with its theatrical trailer in mind. Fox may have been robbed of box-office booty when a leaked workprint of X-Men Origins: Wolverine landed online a month before its release, but the real victim of theft in this ordeal seems to have been the adamantium-clawed Canuck himself.
In an attempt to pay lip service to his inner struggle with unseemly bestial instincts while simultaneously maintaining his unquestionable heroism, Wolverine turns its future X-Man into a blandly brooding bore too grumpy to be a prototypical do-gooder yet too noble to be a cold-blooded antihero.
In the comics, an unfathomably powered Jean literally consumes the energy of a star, killing billions in an entire solar system. Here, her uncontrolled powers result in the death of a comrade—an emotional loss, sure, but not one with the genocidal stakes that prompted retaliatory action in the original story. Here, those who hunt Jean want nothing more than revenge, which divorces the film further from its source than even X-Men: The Last Stand. Jaime N. The final battle sequence is a twentysomething-on-one battle royale that shows just how much the film has come down from its promising start.
Instead of emphasizing the dynamics of the filmmaking, or the 3D image, Singer sets up wide shots of each X-Man, in fighting stance, launching their respective assaults. Luckily, the film establishes an initial brute strength and uniqueness that work wonders to sustain its merit. Mangold knows just when to ditch the dolly, when to have slain thugs fall into the camera, and when to fluidly follow a fighter as he or she leaps across buildings and vehicles one sequence on the roof of a speeding train is at once ridiculous and spectacular.
Our preview section is your best, most complete guide for all the films, big and small, coming your way soon. Connect with us. How important was the Paulo Lins book in Brazil? How did you come to be involved in adapting the book for the screen? What has been the impact of City of God in Brazil?
You may like. Published 2 days ago on July 2, By Marshall Shaffer. Is that what you were expecting? Continue Reading. Published 6 days ago on June 28, By Staff. Nick Schager Iron Man 2 Upgraded with the latest CGI hardware but also more shoddy screenwriting software than its system can withstand, Iron Man 2 is an example of subtraction by addition.
Schager Captain Marvel As another of the character-introducing MCU stories existing mostly to feed new superheroes into the Avengers series, Captain Marvel looks like something of a trial run. Chris Barsanti Keith Uhlich Avengers: Infinity War What is this, a crossover episode? Keith It is a cross between an orphanage and an abattoir. The movie tells the story of this slum, a grim housing project for the poor, from the late s to the early s; it tracks the story of both Rocket, a would-be press photographer and a character whose purpose is probably to ventriloquise the sensibility of Paulo Lins, on whose novel the film is based , and Li'l Dice, who follows his gangster vocation with the passionate severity of a monk - the latter renaming himself, having notionally grown to man's estate, as Li'l Ze Leandro Firmino da Hora.
Crime and football are traditionally the ways out of the ghetto, and Meirelles raises this second option only to obliterate it. A bunch of kids gather round to play keepy-uppy; but this is abandoned when three hoodlums rush on to the pitch, seeking refuge from the police - and football, the commodity in which Brazil is an unquestioned superpower, is never mentioned again. What is left is the great game of violence, of intimidation and rape, of abject gang loyalty for children for whom the ties of family, church or nationhood are meaningless jokes: seething with rage, resentment and collectively enacting one continuous, unending scattered act of pre-emptive revenge.
The favela known as the City of God has been described as the film's chief "character", and as a location it looks unglamorously real in a way that cannot be approximated by set design. There are some scenes at the beach, but the familiar world of Rio is light years away. At first glance, the dreary rows of jerry-built sheds in the middle of nowhere look very much like sheds for factory-farmed animals, or an encampment for refugees or prisoners of war. It is seen in broad daylight, at night, and at one stage in a glowing crimson sunset. But nothing alleviates its grimness and inhumanity - at the very best it resembles a purpose-built suburb of poverty.
Crime has, in a nauseous reversal of liberal social thinking, almost been "designed into" the City of God, but any foreseeable conventional breakdown of law and order has evolved one or two steps further into the corruption and degradation of children. Li'l Dice, a tiny kid, plans a staggeringly audacious hold-up of a brothel, but in a fit of pique at being relegated to the status of lookout by his older comrades, returns to the scene of the crime to murder every single innocent customer and employee of the "motel" - it is a truly chilling moment of unalloyed evil.
Meirelles's storytelling rushes forward at a full, breathless tilt, swerving, accelerating, doubling back on itself, amplifying the roles and experiences of incidental characters. A bravura narrative moment reveals itself when he discloses the history of one single apartment, showing how it becomes degraded and denatured as it ceases to be a family home and becomes a drug-dealer's den.
Meirelles's film flashes and sweeps around you, dizzying, disorientating, intoxicating. His mastery of his material consists not merely in the adaptation of Paulo Lins's novel, but a direct engagement with the ghetto itself, and his triumphant recruitment of a veritable army of non-professionals is the result of an almost military raid on this dangerous territory. This is something that combines film-making with oral history.