Indifference Archives - Can't Stop the Movies
Can't Stop the Movies

Pillars of Eternity 2: Deadfire (2018)

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When Pillars of Eternity came out in 2015 it was like a period of darkness broke with the slightest sliver of hope that the golden days of isometric RPGs à la Baldur's Gate and Fallout might return.  I devoured PoE lustily, getting caught up in its unique take on souls and religion alongside its complicated characters such as the bigoted, sexist, altogether repugnant Durance.  Playing PoE again in preparation for PoE 2: Deadfire (just Deadfire moving forward) served as a cold shower to my early excitement.

PoE scratched an itch that had developed into a sore and any isometric ointment would do.  Revisiting PoE was a chore, the dour plot and plodding combat proving counter-intuitive to my investment in its world.  Deadfire advertised itself as a more swashbuckling adventure that serves as a direct continuation of my choices in PoE while updating the combat and class system to the more successful Tyranny (still the best of this latest glut of isometric RPGs).


Ys VIII: Lacrimosa of Dana (2018)

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Adol Christin, frozen in time with his striking red hair and piety toward sword-based justice, is an enduring figure who has anchored the Ys series for a shade over three decades now.  He doesn't have the cultural cache of Mario or Kirby nor the creative restlessness of those two figures.  Ys has instead endured through sparse tinkering and consistency.  Whether it's through the destruction derby battle system of Ys I: Ancient Ys Vanished or the rapid party switching break fights of Ys: Memories of Celceta if I saw Adol's red hair on the box I knew I'd be in for a good seven to ten hours of tightly focused combat.

Ys VIII: Lacrimosa of Dana (just Lacrimosa of Dana moving forward) is a relatively big departure for the Ys franchise.  Lacrimosa of Dana leans less into fine-tuning the battle system and more in providing the kind of sprawling story that Memories of Celceta provided.  It's a self-conscious stab at maturity for the long-running series, and one that reminds me that just because something is more mature doesn't make it better or more enjoyable.  In the case of Lacrimosa of Dana, that maturity comes with a massive slog of flat storytelling punctuated by a few moments of silent power.


Jumanji: Welcome to the Jungle (2017)

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Four high school students, brought together in detention, find a dusty old cartridge and unfamiliar video game system.  The cartridge is Jumanji, and is about to take them on a trip they couldn't anticipate.  Jake Kasdan directs Jumanji: Welcome to the Jungle, with the screenplay written by Chris McKenna, Erik Sommers, Scott Rosenberg, and Jeff Pinkner, and stars Jack Black, Karen Gillan, Kevin Hart, and Dwayne Johnson.

Jumanji: Welcome to the Jungle (just Welcome to the Jungle moving forward), for all its mediocrity as entertainment, at least serves as a valuable template for success.  It's not content to recreate the Joe Johnston's 1995 film Jumanji and serves as an example of how to take a concept in directions that are fun in theory.  Save one throwback at the beginning of Welcome to the Jungle, this Jumanji is its own beast.  Toss in some reliably entertaining character work from the likes of Jack Black, Karen Gillan, and Dwayne Johnson for near billion dollar success.

Truth be told, I was digging Welcome to the Jungle far more when the four characters destined to be replaced by superstars were existing in world outside Jumanji.  There's an uncertain edge to the teens' interactions with adults.  This results in great scenes where Martha (Morgan Turner) and Bethany (Madison Iseman) both use feminist talking points to try and get out of trouble to dubious effect with spectacular reaction shots of their adult conversation partners.  Whichever of Welcome to the Jungle's four screenwriters (Chris McKenna, Erik Sommers, Scott Rosenberg, and Jeff Pinkner) is responsible for writing those moments should take a moment out of the day to pat themselves on the back.


Bill & Ted’s Bogus Journey (1991)

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They've gone through history, but nothing's changed.  Bill and Ted are still struggling to bring their band the success they've been told it will have.  Their lapse into self-doubt parallels a malevolent schemer from the future who sends robot duplicates of Bill and Ted into the past to kill their band before they can be successful.  Pete Hewitt directs Bill & Ted's Bogus Journey, with the screenplay written by Chris Matheson and Ed Solomon, and stars Alex Winter and Keanu Reeves.

As I write today, April 11th of 2018, there are only two Bill & Ted films in existence.  The 1st, Excellent Adventure, I've watched at minimum 42 times.  The 2nd, Bogus Journey, I've only seen twice - once a shade over fifteen years ago and the second just under a week ago.  I will, no doubt, be watching Excellent Adventure many more times.  The two trips I've had with Bogus Journey will suffice, as the first viewing underwhelmed and the second underwhelmed but with the added benefit of knowing why.

Bogus Journey suffers from the same issue the Harold and Kumar sequels do, a fundamental misunderstanding that the humor comes not from the outlandish situations but the earnest friendship between the leads.  Excellent Adventure works so well because every action or story beat is or sets up a joke that has something to do with Bill and Ted's sincere wish to better themselves.  Their goals in Bogus Journey are to get back to life so that they can win the battle of the bands.  It's their next logical step, not a big character building moment.


Planescape: Torment: Enhanced Edition (2017)

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Planescape: Torment (just P:T moving forward) was a "bucket list" videogame for me.  A former friend of mine introduced me to P:T back in 2003, a couple years after I got into other CRPG titles like Fallout and Baldur's Gate.  He handed the discs over with the promise that P:T was the greatest role-playing game of all time which, considering my love for the genre, placed some mighty expectations on it.

Playing P:T was, no joke, total agony.  The overwhelming grey, brown, and dingy oranges of the starting areas made it difficult to figure out where my characters were - a predicament not helped by primary PC The Nameless One's grey skin and first companion Morte being a tiny floating skull.  My mom used to warn me playing videogames for too long would give me a headache and that came to fruition squinting my way through P:T's awful aesthetic.  I tried playing P:T three more times before the Enhanced Edition came out, the second time with my then-friend guiding me to try and highlight the appeal, a third time after that, and a fourth several years later when P:T appeared on Good Old Games.