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New Escapist Video! On Why Television is Perhaps the Perfect Mode of Adaptation for Video Games…

We’re thrilled to be launching a fortnightly video companion piece to In the Frame at The Escapist. The video will typically launch every second Monday, and be released on the magazine’s YouTube channel. And the video will typically be separate from the written content. This is kinda cool, because we’re helping relaunch the magazine’s film content – so if you can throw a subscription our way, it would mean a lot.

This week, with The Last of Us continuing on television, we took a look at the show as one of the most successful video game adaptations to date. In particular, after decades of trying and failing to translate video games to the big screen, does The Last of Us suggest that the smaller screen is the perfect place for them?

New Irish Independent Column! On Whether “The Last of Us” Can Beat the Video Game Curse…

I published a new piece at The Irish Independent last week. With the release of The Last of Us, it seemed like a good opportunity to take a look at the history of video game adaptations.

There’s a lot riding on The Last of Us, and HBO have really gone all-out on the show. It stars Pedro Pascal of The Mandalorian and is written by Craig Mazin of Chernobyl. It’s an interesting approach, in large part because video games have frequently posed a challenge to studios longing to adapt them to other screens. Just based on Hollywood’s experience with the medium, The Last of Us poses a significant challenge to any production team hoping to translate it to another medium.

You can read the piece here, or click the picture below.

New Escapist Video! “Free Guy – Review”

I’m thrilled to be launching movie reviews on The Escapist. Over the coming weeks and months, I will be joining a set of contributors in adding these reviews to the channel. For the moment, I’m honoured to contribute a three-minute film review of Free Guy, which is releasing theatrically in Europe and the United States this weekend.

New Escapist Video! “Mortal Kombat – Review in 3 Minutes”

I’m thrilled to be launching 3-Minute Reviews on Escapist Movies. Over the coming weeks and months, I will be joining a set of contributors in adding these reviews to the channel. For the moment, I’m honoured to contribute a three-minute film review of the new Mortal Kombat movie that is now available in cinemas and on HBO Max.

New Escapist Column! On “The Edge of Tomorrow” as the Perfect Video Game Movie…

I published a new In the Frame piece at Escapist Magazine yesterday. With the release of Sonic the Hedgehog, I figured it was the perfect chance to revisit the best video game movie ever: The Edge of Tomorrow.

Look, I freely concede that there are maybe some slight issues with that argument, given that The Edge of Tomorrow isn’t actually or literally based on an established video game franchise. However, there’s something very compelling in the way that The Edge of Tomorrow embraces the aesthetics and sensibilities of video games in order to tell its story, offering a much more faithful replication of the experience of playing a video game than films like Street Fighter or Super Mario Brothers.

You can read the piece here, or click the picture below.

156. House of the Dead (-#8)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Ethan Shattock and Gerard Rooney from Disconnected Talk, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users.

This time, Uwe Boll’s House of the Dead.

In this adaptation of the beloved arcade shooter game, a rave on a remote island goes horribly wrong. A small group of friends arrive late to the party of a lifetime, only to find it has become a literal dead zone.

At time of recording, it was ranked 8th on the list of the worst movies of all time on the Internet Movie Database.

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Non-Review Review: Tomb Raider (2018)

Tomb Raider is an excavation of a video game classic.

Tomb Raider gets a lot right in terms of pitching itself as an action-driven blockbuster, certainly enough to elevate it above recent computer-screen-to-cinema-screen efforts like Assassin’s Creed or Warcraft. Tomb Raider has a solid action director in Roar Uthaug and a charismatic lead in Alicia Vikander, while understanding that the premise of the movie rests within its title. Tomb Raider is a movie about raiding tombs, and even the somewhat strained opening act is very striving towards that objective.

“Okay, where’s this tomb I need to raid?”

At the same time, Tomb Raider suffers from the problem that haunts so many video game adaptations, which is a complete misunderstanding of the mechanics and appeal of the medium. The appeal of video games is one of immersion. It is one of actually doing something (almost) firsthand; solving puzzles, making decisions, timing your reflexes just right. These are aspects of gaming that are very difficult to emulate on the big screen, but it seems like the best video game movies understand that the possible appeal of video games is in watching that doing.

Instead, like Assassin’s Creed or Warcraft before it, Tomb Raider makes the mistake of assuming that the audience’s investment in video game world-building extends beyond their direct engagement with it. Tomb Raider too often feels like a video game movie that believes the appeal of playing video games is to watch the in-game cut scenes.

“No, but seriously… tomb?”

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Non-Review Review: Jumanji – Welcome to the Jungle

Jumanji: Welcome to the Jungle is a weird and interesting experiment, in part because it is a nostalgic and belated sequel that remains caught between its past and the present.

Welcome to the Jungle joins a long (and perhaps undistinguished) line of twenty-first century franchise revivals for beloved nineties properties. The original Jumanji was a hardly a breakout hit, even if it did make an impression on a younger generation who would have grown up on it as part of Robin Williams’ nineties family-friendly oeuvre along with Hook or Ms. Doubtfire. Indeed, Jumanji is arguably the nineties Robin Williams film most perfectly suited to a revival like this, in that it involves a premise that can be divorced from its iconic and beloved star.

Franchises find a way.

At the same time, Jumanji is undoubtedly near the bottom of nineties adventure films in need of a revival, lurking in the shadow of other resurrected blockbusters like Independence Day or Jurassic Park. Perhaps because of this distance, and perhaps because of the lack of a true cult iconography, Jumanji serves as an interesting control case. This is a film with one leg in the present, aimed at what modern families expect from blockbuster entertainment. The other leg it planted firmly in the past, harking back to certain aspects of formula that seem almost quaint.

Welcome to the Jungle is not a particularly good film, but it is an interesting one. It serves as a prism through which certain aspects of nostalgia might be deconstructed and explored.

Players.

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Harsh Realm – Kein Ausgang (Review)

This November, we’re taking a trip back in time to review the seventh season of The X-Files and the first (and only) season of Harsh Realm.

So, what does an average episode of Harsh Realm look like?

After all, the show was cancelled after only three episodes had been broadcast. Those three episodes were all written by the creator, and formed something of a loose introduction to the show. Inga Fossa ended with our protagonist finally accepting his place in the virtual world and his mission to defeat General Omar Santiago before the dictator can destroy the real world. There is a sense that the show had yet to even demonstrate what a regular episode of Harsh Realm might look like. It was over before it had even begun.

Jumping into action...

Jumping into action…

Kein Ausgang is the first episode of Harsh Realm to be written by somebody other than Chris Carter. As such, it is an important milestone in the development of the series. It is also the first of two episodes written by Steven Maeda, who would prove to be a pretty reliable set of hands in the life of the young show. Based on his contributions to Harsh Realm, it is easy to see why Carter drafted Maeda over to The X-Files in the wake of Harsh Realm‘s cancellation, even if his contributions to that show were a little more uneven.

Kein Ausgang offers an interesting glimpse of what Harsh Realm might have looked like going forward, if Fox had waited more than three episodes to cancel the show.

Shining a light on it...

Shining a light on it…

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The X-Files – First Person Shooter (Review)

This November, we’re taking a trip back in time to review the seventh season of The X-Files and the first (and only) season of Harsh Realm.

On paper, this should be a slam dunk.

X-Cops was an incredibly risky and experimental episode of The X-Files that really pushed the show in an unexpected direction. The idea of crossing over into Cops was strange and surreal; it seemed like a gimmick that could backfire spectacularly. How could an episode of The X-Files adopt many of the identifiers and signifiers of Cops while still managing to tell its own story? It was a risky proposition, but writer Vince Gilligan and director Michael Watkins managed to pull it off, producing a definite highlight of the seventh season. (If not the final three seasons.)

Game on.

Game on.

First Person Shooter is a similarly ambitious episode, but one that should be a much safer bet. While it pushes the show outside its comfort zone in terms of setting and concept, it does not stray too far from the basic X-Files template. It is written by outsider writers William Gibson and Tom Maddox, but could logically be seen an extension of their superlative script for Kill Switch. In fact, Kill Switch wasn’t even the show’s first “killer artificial intelligence” story; Howard Gordon and Alex Gansa had written Ghost in the Machine as the series’ eighth episode.

On paper, First Person Shooter is ambitious without being entirely unprecedented. Still, the script bends the show too far out of shape. The episode seems to warp and distort the series around it. Despite the fact that First Person Shooter contains far more of the trappings and structures of The X-Files than X-Cops, the episode feels far less comfortable in its own skin. First Person Shooter plays almost like an episode of The X-Files filtered through a lens of unreality; it feels like a textured wireframe model of an X-Files episode, wandering lost in the uncanny valley.

Game over.

Game over.

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