WITH all the horror films that popped out last year (and continue to emerge this year) few if any come close to being as bizarre as Yorgos Lanthimos’ The Killing of a Sacred Deer.
WHEN KADOKAWA GAMES released God Wars: Future Past on the PlayStation Vita and PlayStation 4 last year, it put forth a tactical role-playing game awash in Japanese lore. Its story, which began with a Queen’s sacrifice of a daughter to appease the gods and continued with the other daughter striving to find out why, offered a stunning look into the history of the Shinto-steeped Land of the Rising Sun. Parenthetically, the hope that the narrative would pull in and not alienate Western audiences was answered with success on retail shelves.
MICHAEL Almereyda’s Marjorie Prime (2017) adapts Jordan Harrison’s Pulitzer-nominated play to the big screen in a small way, and it’s marvelous. Eighty-five year old Marjorie (Lois Smith, who played the role in two previous stage productions) suffers the initial symptoms of Alzheimer’s; to help her deal with the memory loss, her daughter Tess (Geena Davis) and son-in-law Jon (Tim Robbins) have installed a “Prime” — a hologram-projected Artificial Intelligence (AI) — representing Marjorie’s husband Walter (Jon Hamm) when he was a relatively young 40.
CLOSE to the turn of the decade, animator Pendleton Ward developed an idea that took root back when he was still enrolled at the California Institute of the Arts and germinated from a short that subsequently aired on Nicktoons. Inspired by his experience working on The Marvelous Misadventures of Flapjack, he fine-tuned his concept and steered it to fruition. His creation wound up being an immensely successful Cartoon Network series. Indeed, Adventure Time pulled in a loyal viewership that generated high ratings across all age demographics, with the young ones, the young once, and those in between appreciating its unique blend of cutting-edge humor, hand-drawn visuals, and storyboard-driven narratives that tugged at the heartstrings.
BY ALL ACCOUNTS, the Touhou Project has been a resounding success. What originally started out as a series of bullet-hell shooter games has evolved into a franchise spanning multiple brands across genres and platforms. Touhou Genso Wanderer Reloaded is one such example.
FANTASY DOUBLE FEATURE: Akira Kurosawa’s I Live in Fear and Roberto Rossellini’s Europa ’51 both ask the question: how should we deal with the man who holds extreme views on life? Humor him or condemn him? Or—unsettling thought—listen to what he has to say?
YOH YOSHINARI’s Little Witch Academia is an anime franchise about young girls, witchcraft, and friendship. Following Akko Kagari, a student enrolled in the Luna Nova Magical Academy, it focuses on her journey to master the arts of magic. Akko slowly gets accustomed to what she can do. And while not naturally talented, she is able to show that with perseverance and a little help, trials and tribulations can be overcome.
THE G-FORCE Project 2018 Sembreak Dance Workshop will be held at the G-Force Dance Center, Expansion Wing of Festival Mall, on Sept. 15, 16, 22, 23, 29, and 30 for Batch 1, and Oct. 6, 7, 13, 14, 20, and 21 for Batch 2.
BACK in the mid-1990s I found myself hooked on a particularly intense habit: Johnnie To movies. I’d seen A Hero Never Dies and The Barefoot Kid (his one period martial-arts film) and had been digging through various DVDs ever since, hoping to find more.
THERE CAN be no denying that FromSoftware’s Dark Souls is brutal and difficult, often bordering on the sadistic in terms of its capacity to challenge players. That said, it’s beatable, and while its gameplay borders on the unforgiving, it succeeds in its objective. You get a massive sense of achievement in persevering through it and conquering the even-tougher-than-tough parts. It’s an acquired taste, a pain to get into, really. It’s also harder to put down once you’re hooked.