Stan and Ollie Review

This is an advance review. Stan & Ollie opens in limited release December 28.

It’s hard to articulate just how successful and famous comedians Stan Laurel and Oliver Hardy were in their heyday. Together, Laurel & Hardy starred in over 100 films, many of them box office smashes. Their cartoonish personae and impish schtick, with the rotund Hardy constantly at the receiving end of the sticklike Laurel’s oblivious gags, fit in practically any situation. They were master comedians working at the top of their game.

But all stars must fall. Jon S. Baird’s new biopic Stan & Ollie finds the two legends at the end of their careers, still as funny as ever but struggling to find an audience now that comedy has moved on, and acts like Abbott & Costello rule the entertainment world. It sounds melancholy, and sometimes it is, but Baird has nothing but warmth in his heart for these two comedy maestros. The film is as funny and charming a Hollywood biopic as you’re ever likely to find.

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Every Hidden Ghost Lurking in Netflix’s The Haunting of Hill House

Warning: The following contains full spoilers for Season 1 of Netflix’s The Haunting of Hill House. You can read our spoiler-free review right here.

The first season of Netflix’s Haunting of Hill House is a sumptuous, atmospheric and engrossing piece of television – but even if you found yourself terrified by its overt, purposeful jump scares and escalating tension, chances are you may have missed some of its more subtle spookiness. It’s easy to spot some of the show’s most memorable ghouls like the Bent Neck Lady or the Floating Man, but did you catch all the hidden ghosts lurking in the background? There are many more than you think, and according to the cast, they all have backstories and tie into the troubled history of Hill House.

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The 13 Scariest Horror Games You Should Play For Halloween

Halloween fast approaches, which means you’re likely in the mood to play some spooky games. Luckily for you, there are a wealth of horror games to play that are well worth your time. The genre had humble beginnings in the late ’80s, with a wave of fantastic games coming out in the three subsequent decades. And thanks to the rise of indie games, there are more horror games out now than ever before.

To help you discover some of the most terrifying horror experiences available, we’ve compiled 13 games that we find to be the most frightening. Genre classics like Silent Hill 2, Resident Evil Remake, and Dead Space are represented here, but you’ll also find more surprising choices interspersed throughout. Regardless of their notoriety, the games we highlight are all ones we that left us with lasting memories.

There’s a lot of horror-related media out right now that isn’t just games. The latest entry of the cult favorite horror film franchise Halloween just released, and it’s quite good, so be sure to read our review. There are also some pretty cool Easter eggs in the film that are likely to please hardcore fans. In other news, the second season of Castlevania is set to premiere via Netflix on October 26, and we’ve got a review of the first six episodes.

Which horror games do you think are the scariest? Shout out your favorites in the comments below.

Lego DC Super-Villains Review: Mediocre Mischief-Makers

It’s been obvious for a very long time that Lego games iterate more than innovate. If you pick up a Lego title, you are guaranteed a wholesome romp in whichever licensed universe is at hand. Everything is breakable and spits out glittery, golden collectibles when destroyed. Beloved characters are Lego-fied and reenact their famous antics with an extra dollop of cartoon absurdity. Those qualities remain appealing, but every so often, developer Traveller’s Tales stumbles onto an idea that requires an extra bit of creativity to really make it sing. Sometimes TT steps up to the plate, like it did for Lego City Undercover and Lego Dimensions. Other times, well, it doesn’t. It’s a little sad to see Lego DC Super-Villains fall into the latter category.

The issue here really comes down to the premise. The idea of subverting the Lego Batman playbook and making a game that’s all about DC Comics villains is a great one in theory. However, opening up the game to the entire roster of DC villains has the unfortunate side effect of highlighting just how weak DC’s broad slate of evil is. Sure, you’re doing fine when you’ve got The Joker using Lex Luthor as a straight man, or when big, unique baddies like Sinestro and Gorilla Grodd start showing up, but much of the game’s story mode has you saddled with third-string riff-raff like Heat Wave and Malcolm Merlyn for extended stretches. Somehow, both Captain Cold and Killer Frost figure heavily into the main story, but the far more compelling Mr. Freeze doesn’t.

There’s a fertile concept in the idea of the loser villains hatching a plan to head up to the big leagues, but the actual plot takes a far less interesting course: The Justice League gets captured and replaced by the Justice Syndicate, who comic fans probably know as the Crime Syndicate of America, a super-powered group from alternate dimension Earth-3. On the surface, it looks like the Syndicate is doing a great job cleaning up crime, but the Syndicate’s going a lot harder on the bad guys than the League ever would, leading the Legion of Doom to gather up a slew of recruits and take the fight to the Syndicate.

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The wild card would appear, at first glance, to be you. At the outset, you get to create your own custom villain who ends up joining the Legion. It’s an impressive slew of options you get at the start of the game, and an even more extensive selection is available as you play, earn more powers, and unlock more parts. Everything from your villain’s haircut, to their weapon of choice, which arm they use to shoot energy at their enemies, to even what that energy looks like can be customized. It’s an extensive collection of options from the moment you start the game, and almost intimidatingly vast by the end. My first villain took maybe an hour to create and be happy with, after which I watched as my lovingly crafted superhero was sidelined for most of the story.

Unfortunately, your custom villain is not the star of the game–they don’t even have a voice–and no matter how badass you make yourself, all the other villains simply refer to you as Rookie (except for Harley Quinn, who calls you Dr. Doesn’t-Talk-Much). You’re occasionally called upon to use your technical skills to open a specific door, and you are able to absorb new powers along the way, but for the most part your budding baddie has almost no impact or meaningful presence in the story. Instead, most of the game’s levels boil down to a formula: A group of one or two big-ticket villains and one or two small-timers go to a familiar locale–Gotham, Metropolis, Smallville, Belle Reve prison–to free some more of their criminal friends, and run into some of the remaining small-time heroes in the process, e.g. the Teen Titans or Nightwing.

The moment-to-moment gameplay remains as simple and accessible as ever; combat boils down to spamming a single attack button, with the safety net of infinite lives, and there’s some very rudimentary platforming. Finding secrets usually just means running around breaking everything until a shiny new toy pops out. There’s nothing really wrong with that by itself, given the Lego games’ appeal to a younger audience, and watching Lego structures explode into a million pieces really hasn’t lost much of its innate joy, even after all this time. The problem is, only a few esoteric sliding tile puzzles differentiate the game mechanically from things the Lego Batman games were doing 10 years ago.

The level design in particular is a major strike against the game. It attempts to evoke a sense of chaos and disorder for the villains to feel at home in, but everything is so cluttered and elaborate, it’s hard to know what’s breakable and what’s not, which character you’re controlling, and what you can actually interact with. The wanton destruction that’s kind of Lego’s bread-and-butter loses something when the area being destroyed looks like a mess to begin with.

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The villains themselves are well-animated, and great care has gone into differentiating the hundreds of playable baddies from each other, be it all of the Joker’s attacks ending with theatrical flourishes, Killer Frost’s ballerina moves, or Gorilla Grodd being able to literally leap over tall buildings in a single bound. There’s a ton of overlap from the small-timers, though, and the alternative choices don’t provide you with a reason to want to use them. Even the relatively easy attention grab that comes from having much of the voice cast from both the Superman and Batman Animated Series from the ’90s show up–including Mark Hamill’s iconic Joker, and a delightfully up-for-anything Michael Ironside reprising his role as Darkseid–doesn’t quite land due to the more interesting villains taking a backseat.

Playing as all villains, you’d think there’d be more opportunity to wreak havoc on Metropolis or Gotham City, even if it’s in an E-for-Everyone kind of way, but there isn’t. The best part of the game is once the main story is over and you can just roam around the rather expansive open areas at will. Any and all villains unlocked during the game are accessible, and there’s tons of little sidequests and races to take on. This is always the best part about the Lego games, though.

Ultimately, Lego DC Super-Villains goes down as another cookie-cutter Lego game, and while there’s still plenty of merry mayhem to unleash, it’s the same kind of mayhem we’ve seen before. What should be as wild and riotous as the Clown Prince of Crime comes off as just another mild-mannered reporter.

Netflix’s Making a Murderer Can’t Justify a Second Season

Note: this is a mostly spoiler-free review of Making a Murderer Season 2, which is now available to stream on Netflix.

It’s not often a true crime documentary becomes nationwide watercooler fodder, but that’s the power of Making a Murderer. This Netflix original series arrived in 2015 and exposed millions of viewers to the tragic story of Steven Avery and his nephew Brendan Dassey, both of whom are currently serving out life sentences for the rape and murder of Teresa Halbach. As with HBO’s The Jinx and the podcast Serial, it arrived at just the right time to tap into the public’s current fascination with true crime and controversial murder trials.

However, much of what fueled the popularity of Making a Murderer is that it shed light on a story many viewers were wholly unfamiliar with. Three years later, each new development in Avery and Dassey’s respective appeals process makes news headlines. The question is whether there’s enough uncovered ground remaining to justify a second full season of the documentary. Unfortunately, Season 2 suggests that Making a Murderer would have been better served following Serial’s example and focusing on a new case entirely.

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15 Western Films To Get You Ready For Red Dead Redemption 2

The western has had a long and strange history, which has seen it veer from being one of the most popular movie genres, for decades until the 1960s, to one of the least popular in the ’80s and ’90s. But while audience interest in the Old West has varied, it’s an era that has continued to fascinate filmmakers, from the earliest days of cinema to the present day, both in the US and in other countries. This is a genre that allows directors to experiment with conventions, address social and political issues, and introduce other genres into mix–from horror westerns to comedy westerns, via brutal bloodbaths, thrilling action, and haunting introspection. Some of the greatest actors and directors of all time became famous for their work in the western, and there are exceptional examples still made every year.

The influence of the western stretches beyond the theater, too–to TV, comic books, and video games. When Red Dead Redemption was released in 2010, it was met with rave reviews and massive sales. This was a game that threw the player into an incredibly immersive version of the old west and Mexico, one that drew heavy influence from western movies. Grizzled hero John Marston was clearly based on Clint Eastwood’s Man with No Name, the violence was straight out of Tombstone or a Peckinpah movie, and the grand vistas of the west took their inspiration from the classic movies of John Ford and John Wayne.

Red Dead Redemption 2 will finally arrive on PlayStation 4 and Xbox later this month, and fans can expect an even more detailed, immersive world in which to work, kill, and explore. So to get you get ready for what is sure to be one of the games of the year, here are 15 must-see westerns that show the great breadth of the genre. Let’s saddle up and ride into town.

If you’re keen to learn more about the upcoming open-world western, read our roundup feature compiling all the latest news, gameplay, and trailers. Red Dead Redemption 2 is adding a bunch of exciting new mechanics that are incredibly exciting and intriguing, so be sure to check out our in-depth feature showcasing them all. Though, if you’re more intrigued about the game’s development and some of its major inspirations and influences, you should read our feature discussing how previous Rockstar games, like Bully, Max Payne 3, and L.A. Noire impacted its mechanics.

In the meantime, tell us which western films you love the most in the comments below!

Starlink Is The Key To Understanding Beyond Good & Evil 2

It’s easy to assume that because Starlink: Battle For Atlas is geared toward younger audiences, it isn’t for you. The toys-to-life component and the cast of Saturday morning cartoon characters are both major aspects of the game that might fly right over your head–it’s definitely where I sat for much of the game’s pre-release marketing.

But after only a few hours with the game, Starlink’s strengths quickly pushed through to me: It’s a satisfyingly accessible spaceship combat game, with seamless exploration that takes the best cues from games like No Man’s Sky and Elite: Dangerous, and comes with all the trimmings of Ubisoft’s brand of open worlds (for better and worse, according to our review.)

There’s one specific thing that’s really piqued my continued interest in Starlink, though: At E3 in 2018, I saw a behind-closed-doors demo of the then most recent technical demo of Beyond Good & Evil 2. And if you want to know what this mysterious sequel is going to feel like, playing Starlink is your best bet.

BG&E2 is a game that still has an air of mystery about it, especially if you haven’t been following the development blogs and livestreams very closely. There’s a lot to describe about what I saw (read the preview if you’re interested) but essentially, the game has an ambition to be a massive and multiplayer open-world space exploration game, and Starlink is just that.

The demo I saw at E3 showed a co-op duo exploring, sneaking, and fighting in an underground tomb, and over the course of 30 minutes, seamlessly transition into city, planet, space, and galaxy exploration and combat. They hoped onto vehicles and got into dogfights above the city, flew high in the sky to marvel at the enormous curvature of the planet, blasted off into the stratosphere to reach their mothership parked in space, and hit hyperspeed to start heading towards new planets.

At the time, my only points of reference were No Man’s Sky and Elite Dangerous—both games with impressive scope, and both games I thought of as outliers in terms of what to expect from massive, open-world games. But now, a few months later, Starlink has shown me a much closer example of what Beyond Good & Evil 2 looked and felt like to me, both technically and structurally. Starlink’s seamless and gradual transition between ground-based combat and questing, free-range dogfighting, and space travel has distinct parallels to what Beyond Good & Evil 2 is trying to achieve, though the BG&E2’s pace felt slower, making its scope–the world, the galaxy–feel much larger.

There’s other Ubisoft technology I could see in Beyond Good & Evil 2 pulling from, as well. The enormous, persistent map of The Crew 2 is an example of how they’re possibly going to systematically render their world, allowing multiple people to exist at opposite ends of a land mass. The sheer size of Assassin’s Creed Odyssey’s map makes me believe that populating the enormous planet I saw in the BG&E2 demo is a feasible feat–albeit one that could only be achieved with the enormous development manpower the company wields.

And if you’ve played Assassin’s Creed Odyssey, released only a couple of weeks before Starlink, you might have noticed that Ubisoft is attempting to ape, or at least try their hand at integrating a lot of the major ideas from other open world games into their own. There were arguably various levels of success there, a lot of these components get me excited about how they might be adapted to the Beyond Good & Evil 2 narrative. Branching quests from The Witcher 3, with their varied consequences, has the obvious benefits of enriching world building. The recruitment system from Metal Gear Solid V would make sense in building your crew of Space Rebels. The nemesis system from Shadow of Mordor could potentially be incredibly exciting if you had bounty hunters tracking you down across the galaxy. In the same way, Starlink is the latest, and most directly analogous experiment into exploring Ubisoft’s capabilities in adapting the No Man’s Sky and Elite Dangerous model of open-world galaxies for their grand space opera.

Ubisoft is pulling Beyond Good & Evil out of the cult-classic status, and it’s likely to become a major flagship release for them in the future. But in the meantime, their open-world releases suggest that they’re taking steps towards learning how to build the enormous open-world galaxy they need to tell their story. The lofty ambition for the game that I saw in that E3 demo is now a much more palpable idea in my head, with Starlink providing a tangible jumping-off point. So, if you have any interest in Beyond Good & Evil 2, that Ubisoft toys-to-life game might be more exciting to you than you think.