First Man Review

First Man
Director: Damien Chazelle
Cast Headliners: Ryan Gosling, Claire Foy, Kyle Chandler, Corey Stoll, Buzz Aldrin, Ciarin Hinds
Original Release Date : October 12, 2018

Space, the final frontier. However this can be truly thought of as the first frontier or for films a well traveled frontier. What Neil Armstrong, Buzz Aldrin and all the personnel at NASA achieved is mind blowing to think of for logistics. How can a known figures laugh be made interesting and how does the midas touch of Damien Chazelle carry through. It ends up being what's expected and in some ways something unconventional.
     To call this a biography is a bit misleading since it's not the whole story of former Navy man and astronaut Neil Armstrong (Ryan Gosling) 's life. It's, for the most part, focused on his career leading up to the awe inspiring Moon landing.
        Gosling is a acting highlight of nearly every film he's in and this lives up to that. He sometimes plays to a certain type but if it ain't broke don't fix it.  Again it is a primarily physical role as he takes on the task of being the loyal and perseverant Armstrong. He manages to slip in some occasional emotional breakdowns as even up to and around the NASA days Armstrong had tough personal trials. Due to the plot much of every character's dialogue is delivered through headset and up close but his committed tone is felt.
    The supportive cast, and it very much ends up being that due to the nigh-solitary nature of space, is filled with some high caliber as well working with an as expected solid script.  Claire Foy portrays Janet Shearon who carries equal if not even more emotional weight in the film while also being a civilian angle to the mission at hand. Corey Stoll is Buzz Aldrin, the 'second man' of sorts and thus gets the most screen time compared to many misc other astronauts who are mostly obscured by helmets. He has some quips but like his peers is spouting intense factual science. The same could be said for Jason Clarke's Ed White and Ciarin Hinds's Robert Gilruth. Perhaps of notable other exception is Kyle Chandlers Deke Slayton who offers alot of NASA mission control. Together the cast shares various moments inspiring, slightly humorous, and at times somber.
   Somber it is because this is a very realistic, at times slow, fact based work. It feels almost nothing like director Damien Chazelle's past work. There's no flashy one cuts or fast camera moves. It only possibly reminds of his past due to the quality of the up close cinematography and certain landscape shots (more on that later). But even masking himself with more common techniques he is still solid.  The same applies for Justin Hurwitz score which is much more subdued than usual without a hint of jazz.
    This may be due to a purpose. The way the visuals happen are so immersive and gritty it can be at times claustrophobic and dizzying. That must be commended due to its capture of what space travel is and what was like perhaps more than any other science fiction or fact recently. Then, after a fascinating journey the Moon is reached and things open so much up once they get there. The score becomes majestic and the scenery a surreal beauty. This movie could certainly be described as being redeemed by a few sequences alone amidst it's lengthy runtime.
   It's not going to be for everyone. It's not for the faint of heart in the face of dizziness or those expecting the wacky free tone of Chazelle past work. But those interested in NASA's incredible space work and seeing some of the greatest efforts of human achievement should enjoy. The story, and the man at the center... And the main playing that main along the man filming that man are commendable to be sure. 8.45 out of 10

Bad Times At The El Royale Review

Bad Times At The El Royale
Director: Drew Goddard
Cast Headliners: Jeff Bridges, Cynthia Erivo, Jon Hamm, Chris Hemsworth, Dakota Johnson, others
Original Release Date: October 12, 2018

 Strangers in a stranger place with mysterious circumstances make for a typical but always interesting premise. Bad Times At The El Royale isn't breaking much new ground but it doesn't need to. It's cast of A list gems shines in between a story that's best to know as little as as possible.. It's groovy and dark and well long but with value
      The year is 1969 and it sure does feel it. The production design breathes the groovy pre-disco era through every bit of color in its furniture and clothing while including some great pop tunes of the day. At the foreboding California-Nevada border residing El Royale Hotel a group of customers checks in for a night that will change their lives forever.
   It can't be stressed enough how good it is to not know who's really who. At surface level there's kindly pastor Father Flynn(Jeff Bridges with his usual beard and western accent), hurried everyperson Darlene Sweet (Cynthia Erivo), cornfried southern businessman Seymour Sullivan (Jon Hamm), and aloof roamer Emily Summerspring (Dakota Johnson) all checking in on the same day for their apparently seperate stories. Around they meet shy bellhop Miles Miller (Lewis Pullman), charismatic hippie Billy Lee (Chris Hemsworth), and troubled youth Ross (Cailee Spaeny).  Soon enough things get crazy .
  Drew Goddard the director  is an incredibly interesting talent due to his genre bending The Cabin In The Woods. Just as that appeared to be horror but was more comedy satire this appears to be funky shoot them up but is much more mystery and nuance filled. There's some great camera work along the mentioned production design. The hotel has its own visual and spoken lore that's hints at far more than what's seen. There's also clever uses of title cards for acts and flashbacks and alternative perspectives. That's how this movie bends its format and it might not be for everyone but it makes it mostly stand apart from its competition.
  However the long runtime must be mentioned. At almost over two and a half hours it's not a light watch. There's heavy brutality but also heavier impact of twists .. Spaced far apart.  The highlight performances from stern yet goofy Bridges to determined Erivo and more than meets the eye Hamm and Hemsworth are good but the long runtime makes each use mixed .
   With some trimmed content it could have been more snappier (especially some flashbacks and setting changes that range from effective to questionable . Any cast not mentioned is just kind of there as well. However when it's good it's some dark mysterious funky fun if one has the long time. 8 out of 10

Venom Review

Venom
Director: Ruben Fleischer
Cast Headliners: Tom Hardy, Michelle Williams, Riz Ahmed, Jenny Slate
Original Release Date: October 5th, 2018

   This is really surreal to see.... After decades of existing in comic books, cartoons, and a somewhat lackluster turn in Macguire's Spiderman 3 the villian Venom now has a starring role. But it's a new cinematic Sony universe without Spiderman. Does that work out, does the tale of man and symbiote work in a vacuum.... Some of it does .

      It's immediately felt through the setting that exists amongst more mundane craft. Investigative journalist Eddie Brock (Tom Hardy) juggles his justice motives with his relationship with attorney Anne Weying (Michelle Williams). Events concerning the mysterious Life Foundation and its CEO Carlton Drake (Riz Ahmed) cause complications escalating with the arrival of the alien symbiotes and the powers they give .
        Any comic book movie that introduces a universe is driven by its lead. Tom Hardy is an exciting pitch for that role but unfortunately results heavily vary. As Brock he has some attempted quips and ferocity but neither quite hits the mark they or his talent needs. What becomes quite interesting is the abilities granted by the symbiote suit Venom (also Hardy). This pile of black goo has a mind of its own and weapons to spare. This leads to some genuinely entertaining moments of bickering and growth between them or of brutal violent threats. This, as all the writing, can also be childish in a way with dumb toilet humor and simplicity. The audio effects for him, and his counterpart Riot (who's performer matches who that becomes) can be cool.
   What is not cool are the visual effects for them. The movie attempts some frenetic action but the CGI feels like something from a lower budget, bygone era .. Aside their comic accuracy. Fleischers directing varies between closer up almost fine crafted and hollow. However it has its dumb moments of fine and chaos especially for a fan waiting for this to come to the big screen.
      This dialogue which almost itself seems like an alien wrote it carries through to a mostly lackluster supporting cast. William's Anne is stereotypical 'ride along innocent bystander' but gets her moments. This applies to possible ally Dr. Skirth (Jenny Slate) who provides some cheesy exposition along various henchmen and hobos not even worth describing.. The human element this movie has not

    As a whole this could have been so much more. It's a lot of slightly but not quite passing . The symbiote struggle and lore is neat along some laughs and woahs and darkness and comic shout outs but it's missing a certain web slinger and the touch that other company brings. For the dedicate only with some caution for quality. 6.7 out of 10

Mandy Review

Mandy
Director: Panos Cosmatos
Cast Headliners: Nicolas Cage, Andrea Riseborough, Linus Roache
Original Release Date: September 13th (limited), 2018

One shouldn't go into Mandy without both knowing what to expect within... and finding it potentially appealing. That applies to any movie but especially here. This is maxed out Nicolas Cage, surreal director Panos Cosmatos, neo-80s horror revenge mania. Mandy is a movie of extreme in all the best and at times disturbing ways. Yet through it all there's some genuine quality craft and heart within as well. It sure is something memorable.

It is likely with purpose that the film's two halfs are in some ways very distinct yet connected by being soaked in its stylized 1983 setting aesthetics. One part a slow trippy art burn and the other part a crazy bloodpacked ride. It sometimes makes sense in how it goes down . It makes the viewer go from saying “what the heck is this” to “heck yes!!!” in due time.

In what essence can be gained from (for what is actually a fairly predictable and if not even just bit more than the right amount of schlock of ) the plot a logger Red(Nicolas Cage) lives deep in the Shadow Mountains of California with his girlfriend the titular Mandy (Andrea Riseborough). Their mundane if even rugged lives are interspersed with visions that are occasionally horrific or surreal which are no doubt affected by their heavy metal and fantasy media they surround themselves with (this movie is classically “metal” as can be with even some small references here and there to other stalwarts of similar genres).

They soon find themselves dealing with a satanic cult of rednecks and their demonoid friends led by Jeremiah Sand(Linus Roache). One might infer that horror and mayhem follow , and it's not for the blood averse. Although due to its surreal nature it's also... different, a word describing so many aspects of what's taking place.

Performances are not always a must of this horror / thriller / (sci-fi / fantasy?) genre. However there's a couple decent things of note. Cage's Red is him at some of his most gloriously “Cageness” as he's ever been. He's hamming it up, he's being awesome, he's feeling pain and sorrow in all the right ways as he goes through it all. It's not a script with a lot of lines but he delivers on just the sheer fact of who he is and the way he emotes and does action. It's nothing that's not been totally undone before (Mr. Ash Williams would be proud) but it decently works. Riseborough's Mandy says about the same things but they have some melancholy moments together and does ok in her nature in what occurs. Bill Duke also has a memorable bit part in weapon seller Caruthers (and in a bit less regard Richard Brake as The Chemist) offering some plot additions and lore. To rival Cage in outlandishness is the almost reverend-like (yet still a hippie) cult leader in Roache's Jeremiah. He's delusional , bizarre, and threatening in ways one expects.

What sticks with the viewer and what will haunt and delight them far beyond the viewing of the experience are the things that make up “experience”. The atmosphere, aesthetics, ambiance, mood are all almost indescribable . They set things apart from similar genre equivalents. It's a mash of “killers in the wilderness” with an overwhelming 80s neon red and oranges and blacks look that's twisted through the surreal lens of the director Cosmatos. Colors make shots pop and terrify along with practical effects. The demons particularly have some great costumes and props in thrilling brutal (if short) action scenes. Lots of blood and liquids happening. There's also some very unique animated pieces and painting-like skybox backgrounds. Various other things add to the mix of frights, chuckles, and cheers that end up occurring if one “gets it”. There's also some interesting use of title cards and sequences in classic high form film style.

One should remember music when being “neon-80s” . Mandy delivers on this outstandingly. The synth and metal soundtrack helps to immerse greatly. Lush soundscapes range from pulse pounding to emotional or relaxing. Surreal and terror states are both achieved. This is aided by impeccable if at times unsettling sound design for both actions … and conversations. It's one of the last scores composed by the late Johan Johansson and his commendations are well deserved.

Nicolas Cage is in a lot of truly bad and silly movies. There comes times when he's in exactly the right kind of outlandish that turns out to be almost a masterpiece. Mandy is on the upper tier of that due to his involvement in the actions that occur around him. This is all set in that lush audiovisual journey of darkness that makes it feel like a classic and yet something on the cutting edge of the medium. If one can handle its approach, a wild ride. 8.71 out of 10

The Happytime Murders Review

The Happytime Murders
Director: Brian Henson
 Cast Headliners: Bill Barretta, Melissa Mccarthy , Leslie David Baker, Maya Rudolph, literal puppets
Original Release Date: August 24th, 2018

One can't help but be intrigued by the premise and approach of The Happytime Murders. A very hard R-rated, adult crime comedy...about Muppets (including being directed by Brian Henson of The Henson Company itself!) … or rather, “puppets” and “Henson Alternative” producing to perhaps not steer families wrong into this. This mix of an innocent exterior and an extremely dark interior is where the most successes happen. Just as others may feel on it and to that point don't judge a puppet by its cover.

This world's fascinating conceit is that humanity and puppets live side by side. Allegories to race and class lie between specialized buildings , bigotry, and amusing things like sugar standing in for cocaine, glitter for feces, and fluff for carnage. The latter few may also hint at what height the brow is for most of this humor.

Yet it's also an attempt at a hard-boiled world. Detective Phil Phillips (Bill Barretta who like essentially all of the other puppet cast is both maneuvered and voiced by Muppet experts..one may know him as the legendary Swedish Chef, Rowlf the Dog, and Pepe the Prawn) finds himself investigating a case for Sandra Jakoby (Dorien Davies) that may go down a much deeper literal rabbit hole then he'd imagine. This soon leads him to start again with his ex-cop partner in human Detective Edwards (Melissa Mccarthy) which leads to many fierce words and jokes given the bias and past.

This movie is really, really adult. One may imagine that it was on intent given what the audience may want since may as well be as edgy as possible. That means most of the humor relies upon this contrast in ways both good and bad. Expect plenty of shootouts, murder, sex (oh so much of it..), and drugs filtered through a felt lense. The writing and script are a mixed bag which often repeats things which are hilarious the first time but a bit less so the second or fifth. However the rapport of characters remains a decent if not stellar element.

These shine through those puppets. Phillips is as grumpy as they get (including a token narrating track) but has his charms. Most puppet people involved in the plot involve the old “The Happytime Gang” sitcom stars (which may evoke memories, aside the setting , of Who Framed Roger Rabbit? In addition to Death To Smoochy). These include playboy Larry Shenangins (Victor Yerrid), drug-dealing Lyle (Kevin Clash), and whatever Goofer (Drew Massey) is. All give that trademark Henson sense of zaniness here feeling surreal in a gritty place.

The strong puppeteer element lies in both their acting as well as their literal movement. Brian Henson's direction is actually quite solid with shots intricately following characters and locations. They make momentary action scenes a bit of riveting (When they're not silly) and conversations feel grounded. If this was entirely a puppet murder mystery it could have been respected even further as a use of the medium. However, its ironic that the parts that feel most real drag it down.

The use of human actors is something of a tradition for these films. Mccarthy's Edwards handles the most of this. Her work tends to be very hit or miss with more landing in the “miss” end to this author. However, here she is slightly “not as generic” due to the situation around her. She is truly a mean-spirited character and this adds to her comebacks. This is not to mention when she does dip to her trademark mania which works in moments here. Together with Phillips they're a decent team together. Other humans such as girly proper secretary Bubbles (Maya Rudolph), gritty FBI Agent Campbell (Joel Mchale), and stripper Jenny (Elizabeth Banks) don't do much aside a joke or two (another Henson tradition..) Of possible exception is their Lieutenant Banning (Leslie David Baker better known as “Stanley from The Office TV series”) who has some quality dry responses.

The plot is not much that hasn't been done before and technically neither is the whole movie. However it's been awhile and not exactly like this. For one willing to handle its crudeness and amount of puppet (And specifically still somehow, muppetness) it's a decent silly time. 7.75 out of 10

Ant-man and the Wasp Review

Ant-Man and the Wasp
Director: Peyton Reed
 Cast Headliners: Paul Rudd,  Evangeline Lilly, Michael Douglas, Michelle Pfeiffer, Michael Pena, others
Original Release Date: July 6th, 2018Seen: Mid July 2018

        The Marvel Cinematic Universe has reached it's peak and most epic possible heights. Just a few months ago Infinity War brought it all together to its darkest and largest limits yet reached or possibly that ever will be. What's next … well, something that in comparison is literally the smallest possible. Ant-Man and the Wasp brings back a street-level criminal silly corner of the MCU into something that can be viewed or mood whiplash with everything that's been going on lately. Maybe some simple joy is what's needed however.

Besides some references to his appearance in 2016's Captain America: Civil War, the movie picks up with the only main tie to the past in that Scott Lang / Ant-Man (Paul Rudd) is under house arrest from his past actions. It really is more about ties into the first 2015 Ant-Man film which is the foremost helpful viewing although as with most superhero films its enjoyable standalone as well. He spends his time loitering , heart-warmingly entertaining with imagination games his daughter Cassie (Abby Ryder Fortson) when she's not being watched by her mom Maggie (Judy Greer) or step-father Jim (Bobby Cannavale, delightfully wackily cheery after the last film's events) or otherwise dealing with the investigations of FBI parole officer Agent Woo (Randall Park). Events of course transpire to bring him back into the micro-world of the original Ant-man Hank Pym (Michael Douglas) , his daughter Hope Van Dyne (Evangeline Lilly) and crew.

Paul Rudd becomes even more of a highlight as Scott in this film. The writing can sometimes be dumb quips but often times causing a smile and much of it is through him. This is helped by the wacky situations he's put in including some surprising twists on how he is disguised as well as now-familiar Giant-Man shenanigans included amidst being small. Whether it's goofing off at home, teaming up with Hope on the field, or talking to his friends and family he offers charisma often.

Yet at times he's not the main protagonist anymore. In what is a first for Marvel a woman gets top billing in the title and one of the more increased roles in a film (all respect to Black Widow and Gamora and the like beforehand). Lilly's Hope gets the chance to step out of the training room this time to many places as she uses the teased Wasp suit. In many ways Wasp outdoes Ant-Man himself since she can fly and shoot energy blasts aside shrinking down. She brings her own charisma and dramatic moments as well, particularly with the arc around her family. Put together with Scott Lang it's twice the superheroics. She still feels limited in some ways in her humor and involvement with Lilly doing the best with what's given but it's good for her to have a role and one hopes for even some more in the future.

The friendly supporters don't usually astound but there's some good bit stuff. It usually comes from the new characters like jerkish, slightly odd and committed Park as Woo or the former colleague of Pym's Bill Foster (Laurence Fishburne). Fishburne's jump into THIS superhero universe is surprisingly great as he offers some quips and wise morals along his scientific grudges. Douglas' Pym even has a bit of an increased role (heck doesn't everyone) as he searches for his missing wife Janet Van Dyne (Michelle Pfeiffer). He brings back the wisdom and ant powers along some more emotion. Pfeiffer's Janet's whereabouts are best seen firsthand but via flashbacks (old re-used footage and new) and perhaps the present she brings grace , kindness, and her own sleek capabilities with wisdom. One can also expect the “Xcon” criminal friends to tag along at a point including spunky Dave (TI), mysterious Kurt (David Dastmalchian) and most of all Luis (Michael Pena) with his silly recap stories. It's a mix of been there done that yet also growing in entertaining new directions at times.

For all the general strengths in easy-breezy heart and humor the actual plot and villainous angles are a bit less fleshed out which is not to be unexpected for these films. There's certainly value however. The plot attempts to wrangle a lot of its own layers over its long runtime in ways that feel both attempted deep (landing on the mark at times) yet rushed / shallow in others. Aside the house arrest / search for Janet material there's the Quantum Realm-afflicted Ghost / Ava Starr (Hannah John-Kammen) with her reality shifting warp suit. She has an awesome design and fierce capabilities in-combat although that can trend generic. Outside of it, she ends up having some quality emotional feels and moral angles with her connections to other characters but it sometimes gets lost in the tapestry. Far more grounded of a threat are the generic mercenary thugs led by Sonny Burch (Walton Goggins) who have their own stake in the events. Goggins offers his charisma and laughs seen as ever in his ther film roles but this isn't his best stuff ever while his presence can sometimes be seen as a pointless nag along the ride.

Thrown all together it can be an exciting ride however. The action doesn't accomplish much new ground that hasn't been seen in prior films but director Peyton Reed does some fun stuff with the big and small ruckus at play, particularly whenever Wasp does things or there's a car chase involved. It's fast , snappy, and grounded but however in today's age one may want more grandoise experiences. For some of that, there's some incredible colorful CGI visuals in the Quantum Realm (seen even more than the first film... or perhaps its been elsewhere in other MCU before..) Christophe Beck's musical score is also punky pumping with some surprising areas it goes as well.

That sums up the experience as a whole. One knows what to expect, it's more of the same..but that's not an entirely bad thing. It's ANOTHER dose of a lightweight silly fun superhero snack between the bigger fare that's coming. Sprinkled throughout this is some more depth and chances for existing characters to shine while mostly smartly weaving in some new ones. For one so small, it packs plenty of fun at the end of the day. Not too bad of a use of summer blockbuster time by any means, never is wrong with Paul Rudd and crew. 8.35 out of 10

Jurassic World: Fallen Kingdom Review

Jurassic World: Fallen Kingdom
Director: J.A Bayona
 Cast Headliners: Chris Pratt, Bryce Dallas Howard, Rafe Spall, others
Original Release Date: June 22nd, 2018


How many ways can you skin a cat, or rather, how many ways can you make a Jurassic Park / World / what have you film. Jurassic World: Fallen Kingdom comes out after 2015's Jurassic World brought back the franchise for a more modern era with its own attempts. There is a sense that this is a true trilogy, more than Spielberg's own ones were. However what's inside is a range of excitement from the fascinating to the silly. However there's definitely some strides forward for every stumble back.

Picking up after the collapse of the functioning park in the last film, a situation arises on Isla Nublar when a volcano is erupting that threatens to destroy all of the dinosaurs on the island along itself. Previous heroes Claire Dearing (Bryce Dallas Howard) and Owen Grady (Chris Pratt) are recruited by friends of the older film's Hammond in Sir Benjamin Lockwood (James Cromwell) and Eli Mills (Rafe Spall) to go to the island and rescue as many possible..including the last trained velociraptor Blue. They're joined by hip young recruits in technician Franklin Webb (Justice Smith) and Dr.Zia Rodriguez (Daniella Pineda) along head of security Ken Wheatley (Ted Levine).

To the film's credit, it does attempt to do some different things with the formula. Yes there's an island of these prehistoric giant lizards escaping containment as has been seen 4+ times before. But there are some exciting sequences involving escaping the lava. It's pure mania of natural disaster, running dinosaurs , and multiple ridiculous moments that all the heroes due. This film, even more than the last one, throws some of the “realism” out the window and goes for the extreme. There's cool visuals in the creatures and environments yet there's also some CGI special effects that are rough looking to the point of almost shame. For every cool creature, there's almost as much something cheesy. It's unknown how much this is due to J.A Bayona being in the director chair for this is a bit different to his more dramatic, smaller scale work before.

However, his horror film influence is felt by a strong point (when it appears). This movie brings back some of that literal , night-time rainy darkness that was missing from the last one. There's some true jump scares and creepy moments delivered of course through a soft PG-13 lense. The other deviation is that, in one of several things borrowed from Jurassic Park 2 The Lost World , a large part of this movie leaves the island behind. It has to be seen firsthand but be prepared for some surburbia and laboratories and a criminal human element that's almost nothing like what has been seen before. The action impresses although it does drag at times but when it's fresh it's fresh (get ready for yet another genetic variant dinosaur in the Indoraptor..). Michael Giacchino's score continues his June trend to both effective and melodramatic effects. There may even be some moments of emotion with these beasts, particularly when they suffer.

The scientific , dino elements are more of the same which is fine enough especially when it's fun. Where things are a bit more shaky is within the cast itself. Pratt's Owen and Howard's Claire have a nice rapport again although this time their relationship takes a bit of a step back to the shenanigans at play. It's more of the same.. whether Pratt with his Star-Lord-esque swashbuckling machismo or Howard with her courage and caring. Pratt, when he's not pulling off unbelievable jumps or rolling around for a laugh (you'll see) does have some slight deeper stuff with his connection to Blue the raptor... be ready for some baby flashbacks that may warm one's heart. The younger recruits in Smith's Franklin and Pineada's Rodriguez attempt comic relief but more often annoy. Cromwell gives an alright performance to share a franchise connection and sincerity but isn't around much. Spall's Mill's does what he needs to do but ends up coming off as cheesy in his own way once the context furthers. On that prior note, trailers showed the return of Dr.Ian Malcolm (Jeff Goldblum) from the old films. It's unfortunate that he does not have much more than minutes of screentime contrary to what one may think. He has some greatly deep and slightly odd lines that may or may not be ad-libs but these sentences may amount to more than what he has. The more gruff personnel like Levine's Wheatley, Dr.Wu (B.D Wong) , and an eccentric auctioneer Gunnar (Toby Jones..such a unique actor …) do little more than add momentary cheese and exposition to the plot. Some of this stuff even feels just like 2015 again to an extent. What young Maisie Lockwood (Isabella Sermon) , the Sir's granddaughter, brings to the film and beyond may also land to a mixed reaction. 

This movie definitely delivers some more same old dinosaur, jungle fun amidst its sea of lava and cheese. Somehow a human element that's both increased to better and worse off amounts occurs. It could have tapped into its themes more, and shown us less or more truthful things before release, but it just about delivers on what one would want. Here's hoping the next one has even more steps forward than back... and is further fresh without being too derivative. 7.7 out of 10