I have no core topic. Here are some random thoughts about things.
Dark Souls III is…interesting, I’ll give it that. I could probably give a full review right now, but I don’t feel like typing up a giant document to list all the changes, in addition to things I like and dislike about it. Suffice to say that if you enjoyed any previous Souls game, you will, no doubt, enjoy this one. However, there’s a creeping sense of familiarity and ease into which I find myself in the Souls grind, and while it’s pleasantly enjoyable for the thirty hours of content (that includes every area and boss in the game), it feels like high time for the series to take a rest for a bit. There’s simply too much familiarity and nostalgia jammed into this experience, and while I objectively like what they’ve done with the third game, it’s also feeling a bit tired.
Kirby and the Rainbow Curse on Wii U plays like an evolution of Kirby: Canvas Curse for the Nintendo DS. Both use the stylus and a touchscreen to make Kirby into a rolling ball, and you draw lines next to him so he moves towards the next objective. Really, the only thin Nintendo added here was 4-player co-op (which is really great!) and a Clay-mation art style, which follows in the tradition of unique Kirby aesthetics. So far, every puzzle has been a unique and enjoyable experience, and the control scheme really works perfectly for the concept. This is one of the few times where I’ll admit that alternative control schemes can offer a fundamentally new experience if the level design follows; I’m kinda sad I didn’t play this one earlier!
San Andreas is a film that literally broke the central channel speaker on my home theater setup, so I guess you could say “the earthquakes are loud” (or there’s a TON of high-pitched screaming). I’m not sure why we as a society enjoy disaster movies where people die, and then somebody has to go through the disaster area to save someone they love, and then that one big jerk dies a horrible death, but I guess San Andreas brings Earthquake back into vogue. The box office receipts, at least, tell us we’re going to see a lot more of these kinds of films, for good or ill. Come for the natural disasters, stay for The Rock being The Rock. Also, Paul Giamatti turns up in this film as a seismologist, and it’s utterly confusing why he’s in this film at all, given the level of the script (obviously, the answer is money, but come on really).
The Martian is the Feel-Good, “science is totally the best you guys” film of last year. You know, it’s the sort of movie with an utterly predictable ending and plot, but you can’t help but feel swept up by the humor and good vibes. Matt Damon is perfect for the part, and the scientific solutions make the journey of getting to the positive ending quite entertaining in process. I can’t say whether any of this is accurate to the original book (which was a surprise hit, I hear), but I can say it certainly entertains for its entire running length. Also, how many films with Mars involved actually experienced box office success? If you can best the Red Planet’s mere existence in a film, then I guess you deserve kudos for making a really great film!
Our Brand is Crisis depicts the events of a documentary of the same name, where United States political consultants manipulated a Bolivian presidential candidate into office – despite the guy being a terrible, terrible person. Again, this is a film idea that’s been done to death – “politics is corrupt” isn’t exactly a new story – but at least Our Brand is Crisis tends towards entertainment more than pedantic preaching about third world politics. Despite that, if you want yet another R-rated look into the world of double crosses and media manipulation, sign right up – I know I enjoyed it a lot.
Burnt shows us yet another “obsession” story in what appeared to be a clear “Oscar-bait” sorta film – this time with chefs and Michelin stars! Despite the tired premise, a lot of the interactions, tension, and intensity here are accurate to what does happen in the kitchens of the most revered restaurants on the planet. A certain kind of perfectionism and dedication to craft will emerge naturally if you want to become one of the best restaurants in the world, and your life will suffer as a result. I’m surprised Bradley Cooper did a good job with the material, although he still yells far too much. I can see why this didn’t win any awards, though – it veers towards “entertaining” more than “meaningful”. So, that means it’s much better than similar movies!
