We’re introduced from the off as we meet our lovers already in the midst of their relationship, the film is prompt in its endeavours to separate them but shoots itself in the foot as the two are reunited, constantly. Even when Camille (Lola Créton) winds up knocking boots with her hip architecture tutor, you’re just enduring the minutes until she finds her way back to Sullivan (Sebastian Urzendowsky). As for the two of them as a couple? Camille is passive-aggressive and needy whilst Sullivan is glib and trite. You’ll be hard pressed to relate to a pair of bland shoo-ins like these, whether or not you’ll be able to tolerate Sullivan’s drippy assertions of his affections or Camille’s irrational on-off proclivities. There is probably something in here to be said about the lack of control in adolescent romance, or indeed the illogicality of love in general but we still need something to grasp on to. Beyond a series of romantic interludes with all the depth of an Abercrombie and Fitch advert.

Based on this exercise in drivel, arthouse cinema at this point seems to have given up on breaking mainstream codas and has given into its very own clichés. That ‘hip architecture tutor’, well, the moment he starts wittering on about the semantic duality of ‘glimmer’ you know who Camille is going to be swooning over. That is of course, if the aforementioned swooning registered on any level. Instead the cast stumble around looking dejected, where is the charisma? Is romance so melancholy that nobody can even muster a smile? Obviously if the minimalist approach has any overriding influence here, it’s obviously Robert Bresson’s work is writ large here. Here’s the problem, Bresson may have roped amateurs into his movies without commanding so much as a wince from them, but he gave them objectives (see Pickpocket) to perform. The line reading may have been stilted, but the physical actions the ‘actor-models’ (confused? Google is your best friend here) performed told the story. Film is a visual medium, actions define character: action is drama. Drama equals incentive! (dammit).

Artsy or not, there’s only so much quasi-philosophy one can be smothered with, even in this niche. Did it ever occur to director/scribe Mia Hansen-Løve that if Sullivan had a persona beyond an elegiac dweeb (chicks dig elegiac platitudes, man) then we may even like him? The many deficits raise so many questions that the result leaves you cold. This isn’t the one, move along.

2012 is well and truly ready for a genuinely funny slapstick comedy, and 21 Jump Street certainly fits the bill. Taking the main idea of the original 1980′s crime drama of the same name and putting a hilarious spin on the genre’s tropes, the film provides a sarcastic, witty twist on the ‘undercover cop in high school’ plot.

Morton Schmidt (Jonah Hill) and Greg Jenko (Channing Tatum) are police officers who, at the beginning of the film, are disrespected, undervalued and desperate to prove themselves. Eventually they are given a ‘proper’ assignment- partly to keep them out of the way, and partly because they are immature, both in character and appearance (although this is countered by a student who points out that Jenko actually “looks about 40”). They are tasked with infiltrating and stopping a high school drugs ring whilst undercover, and instructed by ‘sassy’ Captain Dickinson (played brilliantly by Ice Cube) to “infiltrate the dealers, find the supplier”. And so follows various mishaps as the hopeless pair attempt to fit in with the teenagers of today, and discover that the statuses they held in high school have now reversed: Schmidt is the cool kid of high school in 2012 whilst Jenko is dismissed as an outcast.

Jonah Hill plays the geeky awkward character with his usual brilliance, providing many laugh-out-loud moments, sometimes with just a well-timed humorous expression. It is Tatum, however, who is the surprising success; because of past appearances in romantic dramas such as Dear John and The Vow, it is easy to place him firmly into this genre and disregard any ability he might have for comedy acting- after all, it is hard to imagine him able of providing the witty, humorous performance he does so well throughout 21 Jump Street. Tatum’s foray into comedy is actually both funny and at times quite sweet, particularly as he experiences a taste of what it is like to be ‘out of the in-crowd’. The film also features a surprise cameo appearance which comes right when you least expect it!

A main contributing factor towards the film’s success has to be the sharp, witty script that keeps the film entertaining and light-hearted throughout. The film manages to avoid stumbling into tedious or insipid areas, although at times the story does seem beyond ridiculous and some plot developments can be seen a mile off. It can, however, be argued that this is in keeping with the sarcastic tone of the film, which aims to poke fun at stereotypical teen comedies; in fact Captain Dickinson himself points out, at the beginning of the film, that he himself is an “angry, black captain…nothing but a stupid stereotype”. The two protagonists’ attempts to identify the different social groups within the school also highlights this, with their stereotypical  characters who can be neatly labelled, whilst simultaneously demonstrating how society has changed in the 7 years since they themselves left high school, something which can probably be identified with by much of the audience.

21 Jump Street certainly isn’t the generic, unoriginal comedy that many, including myself, thought it would be at first view of the trailer. It is incredibly silly, far-fetched and at times features quite low-brow humour, but it IS a lot of fun and the laughs, from the entertaining quips and one-liners to the slapstick crescendos, keep on coming.

7/10

Anything Sacha Baren Cohen does will inevitably be compared to Borat. And with good reason, because the build-up and eventual arrival of the Kazakhstan journalist on the big screen had an incredible buzz and excitement about it. It was a classic, so when news of Bruno surfaced there was a similar buzz and mystique surrounding it. Whilst still hysterical, Bruno just didn’t match the heights that the first film did, despite retaining many of the elements that made the 2006 effort so unique.

But Bruno was an absolutely necessary step for Cohen to take. Borat 2 could never happen, the ruse had been well and truly found out and no longer could he remain undercover. Bruno bridged the gap between a straight up fooling real members of the public into a more cinematic and more staged environment. So how would he complete the transition from mockumentary to full-on fiction?

Enter General Aladeen, leader of Wadiya.

While the mockumentary style is gone, save for a brief appearance in the opening minutes, the actual narrative applied is almost an exact replica of both Borat and Bruno: Oddball foreigner with child-like tendencies causes hijinx in the USA and has a complex relationship with his sidekick is a winning formula, and Cohen’s latest persona brings just as much of the funny as its predecessors.

Aladeen, who came into power at the ripe old age of just seven, has effectively never had to grow up due to all the power he’s had running the country. After a bizarre turn of events of New York, he befriends Zoe (Faris), a feminist do-gooder, and goes on an epic journey of self-discovery, all the while enlisting the help of his friend to try and stop a UN constitution.

Apart from a few gags that seem a little too on the recycled side, the majority of the comedy is typical Cohen; rude, crude, provocative and ultimately terrific. It’s deftly written, yet you feel only Cohen and his overt mannerisms could pull off such a striking routine, which is testament to his ability to entertain the masses.

While Wadiya’s supreme leader will get the plaudits, Anna Faris is an absolute delight as Zoe. Faris has a knack of playing a slightly ditsy, yet layered character to perfection, and here she serves as the perfect foil for the spoilt Aladeen.

But there are one or two things missing. Whilst the opening sequence with mock news pieces and his Wadiya Olympic Games triumphs is hilarious, you can’t help but feel it could’ve been played up to even more, perhaps something as delightfully despicable and deplorable as Borat’s initial introduction to Kazakhstan. More Wadiya propaganda style political broadcasts to set the scene for Aladeen’s homeland would have also been welcomed instead of the initial language gags. Whilst the formula is welcome and familiar, it doesn’t leave much room in terms of fresh twists or general plot variety

Otherwise there’s very little to complain about here, and Aladeen is an incredibly likeable addition to a colourful family. There are a couple of particularly gruesome yet hysterical visual gags on top of Cohen’s usual verbally superior satire as well as some neat touches in terms of background music and a couple of great cameo appearances. Go watch it.

Overall: 7/10.

Pre-order bonuses as a concept are not bad, but the way in which they are often implemented is. Retailer specific bonus in particular are something that should not be, followed closely by exclusive missions/levels or weapons. Hitman Absolution sidesteps all these problems by presenting a stand-alone “game” for everyone who preorders from most retailers (at least in the UK, as I believe it’s a GameStop exclusive in the States).

What you get is a single mission that stands outside of any entry in the franchise, instead showing just another hit for Agent 47. This isn’t just another Hitman mission though. Instead of having a sizeable sandbox to wander around and solve the puzzle that is the perfect Silent Assassin run you’re given a sniper rifle and 15 targets. Don’t misunderstand me, however – Silent Assassin is still an option, and is still as mind stretchingly puzzlish as ever.

Instead of given free reign over the movement, position and execution of the hit you’re instead given a sniper rifle and a great vantage point – a rarity in the franchise – and told to eliminate the head of an arms company and his 14 bodyguards. In true Hitman fashion you can open fire at will and gun down anyone and everyone, but (again in true Hitman fashion) the real challenge and experience comes from chasing down the elusive Silent Assassin rating.

To achieve this rating no bodies must be found and nobody must see someone else being executed. Simple enough when you’re given control enough to move the deceased and hide the evidence, but when you’re on an adjacent rooftop the challenge is slightly amplified. Instead of hiding bodies kills must now be carried out in such a way as to cause the corpses to fall into a hiding place already, whether this be in a pool, behind some flowers or, indeed, off the roof (the streets are apparently empty at this time).

Trying to get all 15 targets this way is a real nightmare at first, but eventually you start to wait and watch and plan. Waiting, watching each and every patrol pattern through your scope and planning when you can, and how you will execute each and every person you’ve been hired to kill. This is where the majority of the missions 15 minute time limit will be initially spent, though granted later runs will see you trying to achieve greater speed, which is a challenge all in itself.

Besides the challenge of the Silent Assassin rating, and fun of general sniping malarkey, Hitman Sniper Challenge also includes certain challenges of its own, such as pulling of particularly sneaky kills or finding gnomes and rubber duck. While adding extra incentives for more playthroughs (not that the addictive nature of the game needs more excuses), these challenges also provide final score multipliers, which will come as a god send for those who are trying to top the leaderboards, whether that be friends, national or global.

Control wise it’s all very simple, and should come as second nature to anybody who’s ever handled a sniper rifle in any shooter before, though with one slight, but excellent adjustment. Most games when handling such high calibre resort to letting you hold your breath with a click of the left stick; Sniper Challenge instead has you gently squeeze the fire trigger to prepare your shot. Dubbed the hair trigger this is both intuitive and easy on the fingers, adding an extra dimension to the sense of immersion. Not only does it act as a better function than clicking the stick ever did but it also means that when things go wrong and you start to panic shoot your accuracy realistically decreases due to the haste of pulling the trigger before preparing the shot.

All told, as a free download for those already excited for Absolution, Sniper Challenge can do no wrong. It’s both a great game in and of itself and a great moment to jump back in to the skin of Agent 47 for a quick blast. Rather than have to commit an hour or so to a mission of Hitman you can now jump behind the scope of an Agency sniper rifle and let off a few shots on the space of 5 minutes, perfect for wasting some time, which there’s plenty of before the release of the full game.

Overall 9/10
It’s short, but you’ll keep coming back to beat high scores, get better times, or just simply execute some targets. Fun, free and a great addition to the download library of anybody who likes Hitman, sniper rifles or score based shooters. Just don’t preorder the game, get the download code and then cancel your order. That would be wrong…

Hitman Sniper Challenge is available now to those who preorder from most UK retailers and to American’s who preorder from GameStop. Hitman Absolution will be released on November 20th 2012

I adore Documentary. To me, it tells stories and reveals characters that you just couldn’t cook up for a blockbuster screenplay, no matter how hard even the most creative of souls try and conjure up something in their vivid imaginations. No other genre of film has such an ability to inspire change in the same manner as a good, thought provoking Doc, Thin Blue Line being the greatest example. It inspires discussion and debate, gives fascinating glimpses into complex lives and delves deep into the layers of a person via an interview and/or cinematic portrait of them.

From 2000 to 2010, there was a lovely influx of films that not only rose to the top of the Doc forefront, but also the forefront of mainstream cinema and film culture. Whilst a good film or television Documentary isn’t a rare occurrence, rarely does a title from such a category get muttered in the same breath as a big box office fictional movie.

This article looks at the top five from the Noughties decade, and there are also some honorable mentions featuring other powerful, thought provoking entries.

5- The Fog of War (2003)

Director: Errol Morris

In what could be considered a modern Frost/Nixon encounter, though without the same amount of controversy, Errol Morris’ visual portrait of Robert McNamara serves as a fascinating counterpart to Michael Moore’s aggressive and intensely bias anti-government titles.

While Moore’s work belittles those in power, Morris instead allows McNamara to explain his reasons, good and bad, in 11 lessons learned from his time in government.

The lessons themselves immediately give a composed, welcome and intriguing structure to the film, and serve as a telling personal account of someone in such a lofty position and his trials and tribulations during his run in such a hot seat.

It’s yet another feather in Morris’ cap, his CV already including the incredible Thin Blue Line, and a terrific film in it’s own right. It’s also worth looking at the respective lessons and wondering why governments that followed haven’t necessarily adhered to them. One of 2003′s finest films.

4- King of Kong (2007)

Director: Seth Gordon

Many of the staff here at Push-Start will no doubt have a fondness for retro games. But where do you draw the line between reminiscent fondness and sheer obsession? Just how dedicated would you be in order to have your name emblazoned in classic font at the top of a scoreboard?

To a casual, mainstream audience, it would be all too easy to portray these particular gaming fanatics as nerdy, bespectacled recluses. But Seth Gordon goes down a much more sincere and ultimately gripping route, following the rivalry between gaming guru Billy Mitchell and Science teacher Steve Wiebe and the story behind their quest to conquer each other, and in turn, the classic Donkey Kong arcade game.

Rarely has such an unexplored subject, even in gaming terms, been conveyed and brought to life in such a manner. The interviews which accompany the main story from the likes of Doris Self really add to the proceedings.

The cinematic style isn’t to everyone’s tastes, and some may find it a little too tongue in cheek for their liking. But ultimately I think it makes this title unique, and Gordon deserves the utmost credit for creating what is an absolute must have for your Doc collection.

3- Grizzly Man (2005)

Director: Werner Herzog

One of the most powerful films of 2005, Grizzly Man isn’t one for the faint of heart. Timothy Treadwell’s fascination with bears ultimately led to his undoing, but as Werner Herzog envokes, it was a fascination and an interest he was willing to risk his own safety and well being for right from the start of his thirteen-summer camping stint in Alaska.

The life of Treadwell is one full of mystery, and poses some tricky questions. Notably, was he actually more bear than man? It sounds a silly ponderment at face value, but the film makes no secret of the fact that he felt more comfortable around the company of these animals than he did in common, more traditional human social interactions. Other questions arise, looking at the boundaries between man and nature and just where one has to draw the line when it comes to contact with it.

There are some truly haunting clips, such as a revealing statement where Treadwell reveals he would “Die for these animals,” and another where he reveals “I will protect these bears with my last breath.”

It’s a mesmerizing, if at times a little uneasy look back on the life of a unique person. A man who, for all his risks, was someone who cared deeply about the protection of the bears and spent several hours over several summers trying to adapt with and understand their way of life. Excellent.

2- Supersize Me (2004)

Director: Morgan Spurlock

Morgan Spurlock’s infamous experiment has become the stuff of documentary legend. Aside from being a thoroughly entertaining watch, it encompasses several other qualities that truly make it stand out amongst its contemporaries.

Spurlock’s autobiographical approach to the story gives us a fascinating insight into his life. His charm and easy going manner make him effortlessly likeable and you’d be hard pressed to find a much better example of a filmmaker really connecting with his audience on such an affectionate and personal level.

As the story progresses and Spurlock’s body begins to break down from the excessive junk food intake, we can’t help but feel sympathy for him and almost beg him to stop. You have to admire his determination in the name of film to continue making such a project despite the advice of his doctors.

Shortly after the film, McDonalds dropped the supersize option from it’s menu. In addition, they would add a string of healthier alternatives, such as a “Deli of the Day” initiative akin to that of Subway.

It didn’t bankrupt Maccy D’s or even stop mass obesity, but the changes enforced by the company at least made them re-think their approach, therefore the film can only be considered a success. It forced change through the message it conveyed and the facts presented.

This isn’t just a documentary, this is an important part of film history from that decade. A film which inspired change and a resurgence of the personal diary sub-genre. Absolutely fantastic to watch.

1- Man on Wire (2008)

Director: James Marsh

The fact Philippe Petit is even able to recount his incredible feats is a spoiler in itself, yet when we watch not just the twin towers sequence, but others such as his walk across the Sydney Harbour Bridge, we still find ourselves absolutely gripped, captivated and mesmerised by his apparent total disregard for his own health and safety. But said disregard is mirrored by his drive and passion to defy all forms of human logic and to create a moment in time that will never be repeated.

Petit’s frank honesty at how fame changed his life and his obsession with fulfilling his crazed destiny which formulated over a decade leave you in complete admiration for him and his accomplishment. James Marsh does a fantastic job of glueing all of the relevant pieces of the film together, but it is Petit who serves as the catalyst for the awe-inspiring story being brought to life in such a fittingly splendid manner.

He once dubbed it “The artistic crime of the century.” Nobody could’ve said it better, and it also means that Man On Wire isn’t just a fantastic documentary, but also a brilliant heist movie too, as his cohorts explain in their own candid interviews. The hideout inside the towers, the planning and eventual execution of the fabled walk between the two buildings are all elements that drive the story forward at a pleasant pace.

In a word: Wonderful. Petit serves as an excellent host while Marsh finds the perfect blend between reconstructions, candid testimonials from friends and co-conspirators, music, pace and general storytelling. A must for your collection, documentary or otherwise.

Honorable mentions

Some may be surprised by Michael Moore’s lack of inclusion in the top five. I don’t care much for his one-sided and at times blatantly staged scenarios, but there’s no denying that both Bowling for Columbine (2002) and Fahrenheit 9/11 (2004) are important pieces of text from the decade for the amount of debate and discussion they inspired. Speaking of which, Michael Moore Hates America (2004) by Michael Wilson is an interesting counterpart to those films and explores documentary codes and ethics in an engaging way. Capturing the Friedmans (2003) is another powerful documentary, as is 2009′s The Cove and 2002′s Spellbound.

Once again, we’re not just talking about the supposed increase in mammary appeal (more on that later) but the overall value of the production. The slim box office of the last Piranha outing means a shaved approach to the action; despite the fact that the film is ostensibly geared towards higher stakes. The film is almost bloodless in comparison to the first’s Private Ryan style teen-feeding frenzy, this is made even more remarkable by the fact that this is set in a water park. The location, the potential of water-slide blood-geysers is never taken advantage of; we’re simply shown rehashed images of panicking victims stumbling around as fish nibble their toes (alongside what is, in all likelihood, stock footage from Piranha 1) and a fat man stomping on a puddle of fresh vomit. As you do.

The film stinks of a straight to DVD quickie, featuring jerky underwater photography and strobing camerawork. The image is often grainy and ugly and the 3D is some of the worst since Clash of the Titans, several shots simply don’t work and you’ll wonder what’s wrong with your glasses. The appearance of cult fave The Hoff is the only thing the film takes advantage of, if only to recreate the slo-mo Baywatch run (a gag which is admittedly old hat even before it takes place). Gary Busey’s cameo is a waste, somebody as nutty as him deserves far madder material to play with and this is ultimately the overriding symptom here: a premise full of empty promises.

Worse than the feeble production values, shoddy 3D and embarrassing waste of talent is the sheer lack of visceral appeal. 3DD’s predecessor out-bosoms and out-bloodies this edition of Piranha pap by several hundred fathoms. Even with the lowest of expectations, it’s acceptable enough to expect this to deliver for the red-blooded gorehounds. What’s the most important thing with bevies of buxom babes on display if you’re going for that market share? Making them sexy, so it’s remarkable that this is about as steamy as a seaside resort in Blackpool (shudder). Awkward, grimy and miserable. Where’s Russ Meyer when you need him?

Piranha 3DD fails to deliver the terror, it fails to deliver the gore and it fails to deliver the D’s. It fails to entertain, to thrill and it fails abysmally to deliver anything sexy. The result is destined for the bargain basement, where it belongs. Bloody awful.

1/10.

Tim Burton’s latest, Dark Shadows, is very hit-and-miss. Having never seen the cult-hit original gothic soap opera, it is hard to tell how much Burton was trying to emulate the show but the principal problem with this production is that it has no real focus. The opening is a very typical Burton piece – a very gothic, dark tale of legends, curses and black magic. But once the film opens in the setting of 1972, the focus shifts to a cheesier vibe of 1970s-style comedy that doesn’t work with Burton’s darker, gothic vision. Whilst dark comedy can be a delightful piece of entertainment in general, within this context the two are completely separately worlds that do not compliment one another.

Another massive problem with the focus of the film is that it is fairly plotless. The opening tells of how the Collins family moved from Liverpool to settle in America, bringing in a prosperous fishing enterprise. In Collinwood mansion, one of their servants, Angelique (Casino Royale’s Eva Green) becomes infatuated with Barnabas Collins (Johnny Depp – who else?), who does not reciprocate her feelings. Thus she gets revenge, using witchcraft to kill his family, his lover and finally to turn Barnabas into a vampire and have him locked in a coffin underground to suffer for all eternity. Angelique decides to begin to take over the town of Collinsport with her own fishing business, Angel Bay, trying to ruin the Collins family not only in that generation but for the future also.

Barnabas is awoken nearly two centuries later, and returns to Collinwood to meet his future family and restore the Collins name to its former glory, much to Angelique’s dismay. This is where the film loses all sense of plot, for whole characters and scenes feel entirely wasted and pointless, not developing its characters or story well, but simply setting up points for cheap-shot Back to the Future-esque jokes surrounding Barnabas’ adjustment to the 20^th century (which feel tired and unfunny). Scenes between Barnabas and Angelique feel repetitive, and the final act in particular seems to wash whatever plot was present away as it becomes clearer to the audience that we aren’t really sure what Barnabas is actually doing to honour his vow to restore the family name aside from restoring the fishing business.

Very few characters felt as if they contributed to the story in any way, wasting the decent talent in the cast with flat writing, and one character suffers particularly in a cringe-worthy twist in the final act of the film. The stellar cast – Michelle Pfeiffer, Helena Bonham Carter, Chloë Grace Moretz, Johnny Lee Miller, Bella Heathcote and Jackie Earle Haley – add as much interest as they can into their expendable, undeveloped characters but are hindered by bad writing. Even the quick cameos from Christopher Lee and Alice Cooper felt completely pointless. Only an on-form Johnny Depp (who was obsessed with Barnabas Collins as a child when he watched the original TV series) carries the story with his amusing quirks and quips.

The costume design by Colleen Atwood is particularly commendable, the make-up fantastic and the porcelain-doll-like physique of Angelique’s character is gorgeous. But this is a problem that is consistent across many of Tim Burton’s later works – too much focus on the visuals (which, to be fair, are fantastic) and not enough focus on creating a winning script and story. Throwing a pretty veil over the skeletal frame of Dark Shadow’s story will not fool audiences.

Dark Shadow’s lacklustre execution is a pity, because there was enough material there to give it great potential. But a confused vision, wasted talent and a scattered plot made this film feel fairly lost, tedious and repetitive.

5/10

Datura can be played with a DualShock controller, though using a Move controller adds a huge amount to the experience. Datura also offers 3D support, but I was unable to experience this for the review.

So, what is Datura’s story about? Is it about escaping from human existence, asking questions about life, death, conscience and relationships? Unfortunately it’s up to you to decide, as unlike the usual beginning, middle and end that a cohesive narrative provides, it often leaves interpretation to the player. The experience for me lasted a short 60 minutes, but it did leave an impression, and even though there’s very little choice in how you progress through the game, it’s something that may want to revisit. The phrase ‘game’ in itself really doesn’t apply here either, and Datura proves to be more of an interactive adventure.

Following on from the introduction scene where you’re in the back of an ambulance, after a rather fitting quote from Dante’s Inferno, you’ll wake up in a misty forest, and it’s here that the core experience begins. The tutorial gives you the basics, and even though it may take a little while to get fully comfortable with the control scheme, on a second play through it really does feel very natural, due in part to the direct one-to-one interaction that the Move controller provides. However strange as it may seem, you control a disembodied floating hand, and it’s through manipulation of this that you interact, engage and ‘feel’ the environment around yourself.

Since the hand is tied directly to the Move, you can twist, turn, push, pull and stroke the world around you with pinpoint accuracy and smooth motions. The only core gameplay element that can be easily identified is the hand drawn map, which is revealed to you as you stroke the birch trees in the forest, described as gaining ‘spiritual knowledge’ of your surroundings. The environment itself is very self-contained however, so you won’t find yourself checking the map often. Each object that you interact with moves the narrative forward by providing a wide range of diverse gameplay experiences as you jump through space and time. Differing mechanics are at play, some requiring direct input and movement, where as others are simply just something to watch and experience. The variety is certainly interesting, ranging from driving a car to breaking through ice with an axe, from flying town a tunnel filled with flashing lights, to walking around a swimming pool. Some are more memorable than others, but they all somehow tie together, and I’m certainly intrigued if the developer will ever reveal the deeper meaning behind the title. There are some choices in these scenarios, but there was no apparent impact from these.

The game world is what stands Datura out from other downloadable titles. The sense of atmosphere, tied to music and sound effects add an eerie feeling to the forest that is full of leaves, mist, and strange objects. Flies, butterflies, bugs and other creatures scutter around as you wander by, and it’s only when you sit, watch and listen do you get the full feeling of what Datura represents to the player. Other little touches when you let your hand idle further add to this for example when flies land on your hand.

As much as the graphics and technology impress, there is definitely a break of immersion when it comes to the human characters in the game. Their stilted animations and often jolty movement seemed to break from the atmospheric forest in which they reside.

The physical nature of the game is integral to the gameplay in most aspects, and the small amount of ‘puzzles’ within use this to their advantage. The hand to which you control generally reacts very realistically to the environment, actually letting you touch and ‘feel’ your gameplay space with convincing movement and reactions from each individual finger. It’s hard to convey feeling in a game, and even though the move controller vibrates, this is the type of game that would benefit from true tactile feedback that this generation of consoles just can’t achieve.

The world of Datura is accompanied by a beautiful musical score, sweeping and soothing, and mixes a wide variety of styles, the old with the new. There is a certain pace to the title, and even though you are able to run and run up against the countless invisible walls in the confined gameplay space, it pays off to take your time and soak in the atmosphere, moving calmly through the environment.

For all that it’s worth, Datura is an experience that I would recommend to players who have a Playstation Move controller. The game is entirely playable with a DualShock, but it’s nowhere near as an immersive experience. The atmosphere is something that you won’t experience anywhere else, but the short playtime and disparate narrative elements may turn many gamers off. If you have some spare money in your Playstation wallet and are after something completely different, I’d recommend giving it a go, but judging it as compared to other titles on offer and as a full downloadable title is what it really comes down to. Datura is a hard game to define and boil down into a single number, but unfortunately that’s the nature of the beast.

“In the middle of our life’s walk I found myself in a dark wood for the straight road was lost” Dante Alighieri

6/10

Was high school as funny as everyone remembers? Most people over the age of 20 will be in a situation where they’ve sat with school friends and reminisced on the good times. Who had sex with who. Those embarrassing moments that everyone remembers. For those involved it’s hilarious!  For outsiders the stories often fall flat on their face and receive a curious awkward smile quickly followed by a change of subject.

American Pie was funny.  The question is if we go back to its same formula is it still funny?  Given the recent nostalgic nature of Hollywood it’s time to revisit our pie humping amigos. We pick up with the crew years later, they’ve all gone their separate ways and lived their own lives.  Jim (Jason Biggs) is now married to Michelle (Alyson Hannigan) the lady who is best remembered for her poop shoot flute debacles.  Stifler (Seann William Scott) is working as an intern for a law firm.  Kevin is now a desperate househusband and Oz is a laughable sports broadcaster.  The whole crew decide to return to their hometown for a high school reunion.

Each of the characters have their own set of problems that grown up life brings.  Jim and Michelle are no longer at it like rabbits.  Stifler is treated like the b*tch of his workplace.  Oz has become a laughing stock and is ruled by his model girlfriend.  Finch has been living the high life and never found love……and Kevin? Well no one seems to care about him anyway.  Like any comedy with its root placed in teenage/gross out a lot of the comedy revolves around scenarios and set pieces which for the most part work.  There are plenty of nods of the hat to the events of the first American Pie.  Much like the first instalment all the gags and best bits belong to two men.

Sifler and Jims Dad. (Eugene Levy)  Seann William Scott is back in Stifmiester mode and in full force.  Most of the humour comes from the fact this character has still not matured since we first met him.  Jims Dad again has the best scenes.  He is without a doubt the best thing in the film from his awkward conversations with Jim to the result of a drinking session with Stifler.

Fans of the original will no doubt enjoy.   This is very much like catching up with old friends.  You will laugh and enjoy their company.  Anyone younger or older may give you strange looks but for your time together it’s a good chuckle.

7/10

25 years since Hideo Kojima and Konami created a franchise that, while some would argue has gotten out of hand, is one of the biggest franchises in gaming history. Metal Gear is a phenomenon, one that many other games owe parts of themselves to.

With such a pedigree choosing just one of the series to label as the best there is should be a difficult task. Should be, but in reality it’s obvious – Metal Gear Solid 3. In my review for the recent HD Collection I said that MGS3 is worth the admission price alone, and I still stand by this statement; why, then, am I about to tell you that MGS3D, an “upgraded” version of Snake Eater, isn’t?

Rather than spend time talking about what’s the same, such as the gameplay mechanics, I’ll instead focus on what’s been changed for this version. Those curious as to any other information feel free to check out the MGS3 section of the HD Collection review.

Story wise it’s the exact same Snake Eater we all know, following Naked Snake (a young Big Boss) as he ventures through cold war Russia on a mission to extract a scientist and a mission to kill his mentor – The Boss. Because it’s unchanged the story is fantastic, with its twists and revelations often bordering on confusing, but never slipping out of entertaining and intriguing. The 3DS version is both an upgrade and a downgrade in terms of presenting the story, with your preference towards 3D being a deciding factor.

Left on the 3D provides an extra dimension (for want of a better phrase) to the cutscenes and interactions, though the small screen and lower frame rate can hinder the more intense or grandiose scenes. Gameplay wise the 3D can also help with judging distance, a near indispensable feature for a sneaking mission. An added touch is the fact that the 3D automatically switches off when aiming down the iron sights of a weapon, rather than having to blur an item or deal with image ghosting this allows precision shots to be taken without visual impairment.

If only the controls allowed such precision. Without the circle pad pro the face buttons are used to control the camera and aiming functions, and as anybody who has tried to use digital inputs to aim precisely will know, the lack of a stick is obvious and uncomfortable. To try and counter this auto aim is abundant and easy to activate, but its short range, imprecise shots and overall iffy-ness when trying to target specific enemies can make it more a hindrance in all but a couple of sections.

Also new to the gameplay gimmickry is the use of motion control. When in a situation that requires balance (such as walking on ledges, tree branches or unstable bridges) the 3DS must be rotated to compensate for shifts on balance. While finding a position to hold the device comfortably for extended periods of time is often challenge enough, having to physically move the device (while trying to maintain the correct 3D viewing angle) can be a pain.

Less obtrusive is the new camouflage feature that allows photos taken with the built in camera to be used as clothing for Snake. While these photos have to be taken outside of the game they aren’t essential in any way, and as such are more of an optional extra, a feature for the curious to play around with but those without the inclination can easily discard.

On a more positive note are the introductions of third person aiming and crouch walking, similar to Peace Walker. Crouch walking allows low objects to be used as cover while maintaining a speedy pace to movement, unlike crawling, and can also allow footsteps to be soften without having to gently tease the stick and risk pushing it out of the miniscule “silent walk zone”. Third person aiming almost reduces the pain in being unable to aim as precisely as one would want, but again the use of the face buttons means that even with its large cursor headshots can be more difficult than they need to be – an almost fatal mistake for the higher difficulties.

The DS in 3DS features heavily in this port as well. The lower screen now shows a map of the current area, allowing much easier navigation of the bigger areas and allowing every nook and cranny to be visibly explored for secrets and items. All menu options are also accessed from the lower screen, with the camouflage, injury, weapon, item and backpacks all being accessed by simple touch icons, which are refreshingly large and easy to hit. On a downside, though, is the slight delay between pressing what you want and it doing what you want, which can mean changing the equipped weapon or item is now slower and more cumbersome than the simple L2/R2 menus from the console versions.

As it stands the 3DS version of the game is the worst version of Metal Gear Solid 3 to date, with its at times awkward controls holding it back, but in the end it is still Metal Gear Solid 3. If you really want to experience this excellent entry on the move then it might be worth waiting for the PSVita version, which while a straight port with no enhancements will no doubt benefit from the use of the second analogue stick. If you just want to play MGS3 then it would be worth picking up the HD collection and getting 3 games for the price of this lone entry.  If you really cannot wait though, or only have access to a 3DS, then by all means pick this game up, just don’t expect it to live up to the great things you’ve no doubt heard.

Overall 6/10
Its Metal Gear Solid 3, and that still counts for something, but it’s still the worst version released thus far. One for major Metal Gear fans only.