sci-fi

Is The Matrix Resurrections Good? Review & Verdict

Review – The Matrix: Resurrections Directed by: Lana Wachowski Written by: Lana Wachowski, David Mitchell & Aleksandar Hemon Produced by: Lana & Karin Wachowski Starring: Keanu Reeves & Carrie-Anne Moss Release Date: December 22nd 2021 The reviews for The Matrix: Resurrections have been pretty mixed, which meant that I when I went to see the movie last night, I really did not know what to expect. To give you some context, I grew up with the Matrix and spent much of my childhood lying back on my couch with my feet on the floor pretending that there were bullets whizzing past my head in slow motion. So obviously, I really wanted this latest entry to be great. Having had about 12 hours to ruminate on the movie, I am still feeling somewhat conflicted about Resurrections. The movie itself is pretty great, in fact I would go as far as to say that it is probably the best Matrix movie after the iconic original. We all knew that this latest entry could never surpass the first film, so surely all that it had to do in order to justify its existence was be better than the other two sequels, right? The Matrix: Resurrections in fact had to be more than that. The most unfortunate thing is that the reason it had to be more than just a ‘good sequel,’ was simply due to timing. See, Resurrections dropped in cinemas just one week after Spider-Man: No Way Home did. Both of these are movies which rely heavily on nostalgia from past entries in their respective franchises. Unfortunately Spider-Man has Matrix beat in this aspect and when No Way Home is still so fresh in the collective mind of cinema-goers, that is an aspect that is hard to shake. I saw an internet comments recently that stated; “It is a shame that Matrix: Resurrections is coming out just a week after No Way Home. Spider-Man will likely take most of the box office for the entirety of December, leaving The Matrix to lose out financially and yet Matrix will likely be the far more original of the two movies.” I am not going to name the person that left this comment or divulge where they left it however, I would like to award them with the coveted prize of the most incorrect comment of 2021. Not for the box office prediction, they are probably quite right in saying that this movie will make no money, but the other thing. Whilst No Way Home used the stories from the past to elevate the current story being told in an emotionally effective way, Resurrections feels more like we are being fed memberberry pie. Nostalgia is used more as a crutch here rather than a storytelling tool. This fairly lazily implemented attempt at tickling the audience’s nostalgia bone would have been irritating enough, without Resurrections thinking it was being so damn clever whilst doing so. Listen, I am not against meta storytelling whatsoever, I enjoy Deadpool and Rick and Morty as much as the next person. However, it just felt somewhat forced here and sort of like Lana Wachowski thought that she was being far more clever than she actually was in parts. With all of that said, it is pretty unfair to hold the coincidentally poor timing against this otherwise entertaining entry in the franchise, “but here we are.” Other than the obvious nostalgia-bait that was being dangled throughout the film, I did enjoy most other aspects of Resurrections. Seeing Keanu, Carrie-Anne Moss and Jada Pinkett-Smith return as Neo, Trinity and Niobe respectively was a treat. Keanu did a great job of portraying a different version of Neo. One that was more emotional and psychologically damaged. When it comes to Jada Pinkett-Smith’s performances, they are usually pretty hit and miss for me, but I actually enjoyed her in the role of an aged Niobe. Although Carrie-Anne Moss did a phenomenal job when she was onscreen in the film, I was a little disappointed with how long it really took her character to ‘arrive.’ Although she does get a lot of play in the final act of the movie and nails every scene she appears in, I could have definitely done with seeing some more of her in the movie. Personally, I really enjoyed Yahya Abdul-Mateen II’s performance here as a new Morpheus, although I could see why it might prove divisive for fans of the more stoic original version of the character. The other main newcomer to the series was Jessica Henwick as Bugs and I enjoyed her character as well. Slight spoilers here, however this reveal was illustrated in the movie’s second trailer. Jonathan Groff plays the new version of Agent Smith. I have heard complaints about him being too jovial, however I would personally prefer that the actor makes the role their own rather than just do an impression of Hugo Weaving. I have heard some complaints being made regarding the visual effects in the movie, however I never had any real problem with those aspects of Resurrections. The direction was fine and the script was serviceable, even if it was chock-full of obvious call backs. In fact, that last criticism could be used to describe The Matrix: Resurrections as a whole and that was the thing that I felt let down by the most when watching the film. Rather than building on what had come before to progress the series, this movie seemed to be far more content to simply repeat what had come before with a fresh lick of paint. A sequel to something as iconic as the Matrix justifying its own existence is a big thing for me. I spent most of my review of The Last Of Us 2 complaining about how the sequel was never able to justify itself in my mind. Even though The Matrix Reloaded and Revolutions weren’t great films, they at least tried to expand on the first movie, whereas Resurrections feels much more

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Keanu Reeves’ BRZRKR Volume 1 Review (Boom! Studios)

Review – BRZRKR: Volume 1 Publisher: Boom! Studios Writers: Keanu Reeves & Matt Kindt Artist: Ron Garney Colourist: Bill Crabtree Letterer: Clem Robins Release Date: September 29th 2021 Intro I wanted to love BRZRKR right from the start. This is a violent, sci-fi story about an immortal soldier with the likeness of Keanu Reeves, (who is also co-writing the series!) If that sentence doesn’t sound like the most awesome thing that you have read all day, then I’m afraid we can’t be friends. The main issue with this first volume is that it spends most of its time trying not to live up to its bad-ass description. Instead it seems far more interested in giving us a run-of-the-mill meandering prehistoric backstory of how BRZRKR came to receive his powers. When three out of four issues in this volume centre around caveman Keanu, rather than futuristic killing machine Keanu, this becomes a problem. Below I will give my thoughts on each issue in the volume, before summing up my overall thoughts in the conclusion. #1 As long as you don’t go in expecting something cerebral here, then Keanu Reeves and Matt Kindt’s writing in the first issue is totally serviceable. As expected, we are treated to an incredibly formulaic opening that even features the classic cliché of the hero jumping out of an aircraft without a parachute and managing to land totally unscathed. The ensuing over-the-top action scene lets the reader know exactly why he is called BRZRKR as we see him ripping off arms and stabbing a henchman with another guy’s spine. The sequence is a lot of fun and discloses to the reader exactly the type of series we are in for going forward. This scene takes up roughly the first two thirds of the issue and features a good number of pages with hardly any text. Unfortunately this means that a good portion of the pages in the issue are almost devoid of any text bar a few voiceover lines from a conversation happening in the aftermath of the opening sequence. The main problem with the writing in this issue is that BRZRKR is very hard to relate to. This is most likely down to the fact that he is a predominately mute killing machine for the vast majority of this first issue. The concept of the character is also far from original. There were several times in the issue where I was reminded of Wolverine and the characters from The Old Guard, but the property it is most similar to is Bloodshot. In saying that though, originality isn’t everything and this is a remarkably fun take on the concept of an immortal soldier. Rob Garney’s artwork in the issue has a scraggly, rough aesthetic to it that I really enjoyed in this first issue. I felt that the unpolished style suited the story being told and the character at the centre of it. There are also some striking 3 panel pages and splash pages that are awesome to look at. I also enjoyed the depiction of gore in the book, which had a certain fluidity to it whenever it was on display. I also thought that Garney captured the likeness of Keanu Reeves really well and although it was unmistakably Keanu, the character’s look never detracted from the plot in any sort of detrimental way. The environmental artwork also allowed the reader to keep up with all off the fluid action and fighting happening on the page. At no point did I feel confused as to where we were in the environment. The one aspect of the artwork that I felt there was room for improvement in was the colouring. Bill Crabtree uses a lot of reds and other hot colours here. This would be fine as it adds a certain intensity to the artwork, but it is used in an overabundance to the point where it becomes difficult to discern what is happening in certain panels. There are certain objects that just don’t stand out and end up blending into the background due to some of the choices made by Crabtree. BRZRKR #1 is a fun first issue that any fan of over-the-top action comics will thoroughly enjoy. It is not going to deliver a highbrow look at what it means to be mortal in the way that Watchmen does, but at the same time it is not trying to. It is trying to be an in-your-face action comic full of fun and it totally delivers on this front. #2 Unfortunately this second issue is the first to be used purely to show us a flashback to how Keanu’s character received his BRZRKR powers in the first place, 80,000 years ago. The story being told via flashback lasts for the entire 22 pages of the issue and it is an extremely jarring change of pace from the first issue. The writing is fairly ham-fisted through issue #2 and it soon becomes apparent why there was so little dialogue used in the first issue; because the writers aren’t very good at writing dialogue for this character. One positive in this issue is that Ron Garney’s scraggly style of artwork works remarkably well for this Stone Age story. The unpolished aesthetic of the art matches the rough, primal look and feel of the ancient landscape that serves as the backdrop for the flashback. That said, I didn’t feel that there were as many striking splash pages in this issue as there were in the first and the sense of fluidity that was present throughout the first issue’s artwork is sadly missing here. It is instead replaced by a more stubborn, stunted style of illustration. However I do wonder if that was a conscience choice made by Garvey for this issue, as it is set in a stockier and less free-flowing era of history. The violence that many may be hoping for following the brutality of the first issue’s artwork is thankfully present in this issue also. Spines are kicked out, heads are ripped

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Review – Blade Runner: 2049

Review – Blade Runner: 2049 Directed by: Denis Villeneuve Written by: Hampton Fancher & Michael Green Produced by: Ridley Scott & Yale Badik Starring: Ryan Gosling & Harrison Ford Release Date: October 5th 2017 After recently revisiting the original Blade Runner, I decided to revisit its follow up; Blade Runner: 2049, for review. Revisiting this movie was a blast, as it is probably one the greatest sequels ever produced. First off, this movie is a feast for the eyeballs. I won’t go on about the visuals too much, as I’m sure at this point that you already well aware of how good looking this movie is, all I’ll say is this; the movie deserves to be viewed on the biggest screen possible. What is even better though, is unlike a certain Zack Snyder film, Blade Runner 2049 has more to it than just surface level, pretty visuals. Denis Villeneuve is one of my favourite directors working in Hollywood today. The run of movies he released between 2013 and 2017 was nothing short of astounding, beginning with Prisoners and ending with this film. Additionally, he has achieved the impossible here by managing to pull off a truly fantastic sequel to a 35 year old classic. I love almost every part of this movie. The direction is masterful to watch, with the movie being moved along at a deliberate, purposeful pace, rather than rushing through from action scene to action scene. The sets used in the film are out of this world, some props are really cool to look at and the use of mostly practical backdrops makes a huge difference as opposed to using an abundance of green screen. Rodger Deakins’ cinematography is utterly astonishing, you could honestly screen grab an image from any time stamp in this movie and it would work perfectly as a beautiful desktop background. I also think that the performances are fantastic and everyone does a great job in their respective roles. Although Ford doesn’t appear until the movie’s third act, when he does he is great. Gosling commands his leading man role as we’ve come to expect him to. Robin Wright and Dave Bautista are the other standouts for me in terms of their performances. The more technical elements of the movie work perfectly in tandem with the story being told as well. The special effects are beautifully implemented and the lighting in the movie adds a whole other layer of visual depth as well. The score also works for the tone that the movie was aiming to achieve. Additionally, the script is solid and tightly woven. The only thing I will say is; if you were to go into the film expecting a sci-fi action blockbuster, you will come out disappointed. This is a slow paced, sci-fi noir, detective story. There are a few sparse moments of action and it does feel impactful when it occurs, but it is not the focus of the movie at all. The one small element that bothers me in this movie is Jared Leto’s performance. He never fails to take me out of the movie and is the only cast member who doesn’t feel like a real character within this world. Maybe I’m just being biased, as Jared Leto has always annoyed me in general, but for me he is the one bad part of this near masterpiece. Thankfully he doesn’t get that much screen time, so it could have been worse. Also, the fact that David Bowie was originally cast in that role adds an extra sprinkle of salt in the wound. Overall I love Blade Runner: 2049, but I can see why people find it somewhat divisive. For me though, the vast majority of this movie’s parts are absolutely fantastic and come together to form a journey that you must experience for yourself. [yasr_multiset setid=2] [yasr_visitor_multiset setid=2] If you enjoyed Dan’s review of Blade Runner: 2049, check out what he thought of the original Blade Runner here. Don’t forget to like us on Facebook, Twitter, Instagram, Discord and join our official Facebook Group. Check out our new Podcast and subscribe to the channel on Youtube, Spotify, Apple and Google. Buy tickets for BGCP Comic Con in and around Glasgow Scotland – BUY TICKETS Check out all of our Comic, Movie, Television and Videogame Reviews and News from Glasgow, Scotland, UK and the US, HERE and our Podcasts/Interviews HERE If you want to be part of the BGCP community, Join us on Discord, Twitter, Instagram etc then click HERE

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Review – Blade Runner

Review – Blade Runner Directed by: Ridley Scott Written by: Hampton Fancher & David Peoples Produced by: Ridley Scott & Hampton Fancher Starring: Harrison Ford, Rutger Hauer & Sean Young Release Date: September 9th 1982 I first watched Blade Runner around twenty years ago and in my dumb kid-brain, I put it into the same category as Star Wars. They were both sci-fi movies, both made in a similar era and they both starred Harrison Ford. I think that the first version I saw was the director’s cut version. I then went back to Blade Runner at the age of 12, when the ultimate cut was released in 2007 and at the time, I felt that the setting and the world were still incredible, but the plot and characters in the movie left a lot to be desired. Recently, I decided to go back and re-watch the directors cut of Blade Runner for review and then follow it up with Blade Runner: 2049. The biggest shock that I experienced during this most recent re-watch what that I realised that I had totally forgotten just how excruciatingly slow this film is. The whole thing moves at a snail’s pace and half of the run-time is spent looking at Harrison Ford’s reaction shots. I had it in my head that the pace of Blade Runner was similar to that of A New Hope, but I was way off. I get it, it’s not a sci-fi action flick, it’s a hard-boiled, contemplative detective film, but it really is a slog to sit through. And that is coming from a guy that loves a slow burn movie! I still feel the same way about this movie that I always have, the world and the setting that the story takes place in are far more interesting than the movie itself, (something else that Blade Runner has in common with Star Wars!) There is a reason that so many other movies have borrowed elements of Blade Runner’s amazing setting over the years and used them as inspiration for their own set design. To this day the sets and the majority of this almost 40-year-old film’s visuals still look great, that is an achievement not to be scoffed at. I will always appreciate Blade Runner for what it did for sci-fi movies that came after it, but if you saw this film as a kid and are thinking about going back to re-watch it again to see how well it holds up, I would actually recommend against it. This movie was so much better in my head than it was when I actually re-watched it and I somehow like it less now after re-watching it. However, this certainly should not take away from the importance and influence of this film and if you consider this a classic, it would be hard to argue that point with you. [yasr_multiset setid=2] [yasr_visitor_multiset setid=2] Speaking of things that blatantly ripped off the aesthetic of Blade Runner, you can check out our review of Cyberpunk: 2077 right here. Don’t forget to like us on Facebook, Twitter, Instagram, Discord and join our official Facebook Group. Check out our new Podcast and subscribe to the channel on Youtube, Spotify, Apple and Google. Buy tickets for BGCP Comic Con in and around Glasgow Scotland – BUY TICKETS Check out all of our Comic, Movie, Television and Videogame Reviews and News from Glasgow, Scotland, UK and the US, HERE and our Podcasts/Interviews HERE If you want to be part of the BGCP community, Join us on Discord, Twitter, Instagram etc then click HERE

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Review – Hellboy Animated: Blood & Iron

SUMMARY The Bureau of Paranormal Research & Defence are brought into a publicity stunt of a case for a supposedly haunted mansion in Long Island, owned by a big shot entrepreneur with ties to the BPRD’s budget. Upon arrival, the parlour tricks turn to paranormal warnings. Ghosts and ghouls haunt this house but as victims of a far greater horror, an Eastern European blood countess known as Erzsebet Ondrushko. ART Just to get the negative out of the way, the animation can be choppy at times, especially during action sequences. It doesn’t ruin the flow of the film but it is noticeable unfortunately. Okay now to the endless praise, when not in full motion, the animation and artistry is gorgeous. Whoever said you can’t replicate a beloved comic book art style in an animated adaptation needs to watch this. The film is dripping with Mignola’s grim and gothic atmosphere and art style with very few additions that do indeed add to the style. As an animated film, the sky is the limit with what you can bring to life visually. Where this film really shines is in it’s visual restraint. Scenes of pure horror are left to the imagination with an orchestra made up of horrifying sections; instead of strings we have the sounds tearing flesh, percussion is replaced with the sounds of crunching bones and it’s all accompanied by a choir of echoing screams. The only horror we see is on the faces of those who narrowly escaped a nightmare. WRITING There’s a satisfying full circle to this film wherein Mignola adapted Francis Ford Coppola’s Bram Stoker’s Dracula into a graphic novel in his own image. Now Mignola gets to make his own classic Stokeresque vampire story with Blood & Iron into a film. The psychological and emotional horror of Stoker’s Dracula mixed with the dark and witty action of Hellboy blends seamlessly as a story. The Del Toro adaptation gang is all here; Ron Perlman, Selma Blair, Doug Jones and the late John Hurt all reprising their roles and gifting the film with their synonymous voice talents. Not to mention the additional stellar voicecast of Jim Cummings, Rob Paulsen, Peri Gilpin and James Arnold Taylor. Stand out performances are given by Kath Soucie as Erzsebet Ondrushko and Cree Summer as Hecate, Goddess of Magic & Witchcraft. OVERALL In conclusion, Hellboy Animated: Blood & Iron is a gripping animated feature length film with a full package of humour, action, horror and emotional weight with an all star voice cast and uncanny art style replication. Why this particular piece of Hellboy media didn’t spawn a long running animated TV Show is beyond me, a true missed opportunity to provide something dark, action-packed and educational! [yasr_multiset setid=4] [yasr_visitor_multiset setid=4] Let us know your thoughts on Hellboy Animated: Blood & Iron and be sure to check out our reviews for Hellboy Animated: Sword of Storms & Hellboy & The BPRD! Buy tickets for BGCP Comic Con in and around Glasgow Scotland – BUY TICKETS Check out all of our Comic, Movie, Television and Videogame Reviews HERE and our Podcasts/Interviews HERE If you want to be part of the BGCP community, Join us on Discord, Twitter, Instagram etc then click HERE

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Review – Hellboy Animated: Sword of Storms

Review – Hellboy Animated: Sword of Storms SUMMARY Hellboy takes a tour of Japan unlike any other when the deities of Thunder and Lightning possess a renowned professor of Japanese fables. With his red right hand and the sword of storms in his left, Hellboy looks to right the wrongs of an ancient mythological tale of romance, betrayal and horror, cutting down all the folklore in his way. Don’t trust the umbrella! ART With it’s roots in Japanese mythology, there’s more than enough synergy and variety between the primary animation style and traditional Japanese kaiga artwork throughout the film. Making for a magnificent balancing act between beautiful scenery that’s eerie and terrifying characters which are elegant. Speaking of variety, there are so many different characters and creatures spread across this story and they’re all likeable, even the ones that are truly horrifying to look at; like if Scooby Doo merged with Little Nightmares. WRITING Playing out more like the labours of Hercules in a Japanese setting, this animated film stands out with it’s deep and creepy Japanese history, fables and folklore such as Raijin and Fujin; the Gods of Thunder and Lightning, disembodied flying heads known as Nukeubi and the Spider Woman, Jorōgumo. All of which are given time to be bad ass and haunting in their own ways. See? Education CAN be fun! While not the main genre of the film, it deserves to be noted that this film is hilarious. Every little quip, joke, dig and comic relief lands perfectly, very seldom does it disrupt the flow of the overall serious tone and instead adds character and an air of pleasant fantasy amongst the horror and drama. OVERALL In conclusion, Hellboy Animated: Sword of Storms is a fantastical animated film crawling with ambience and action. The beloved cast and crew do an incredible job to make this an impassioned love letter to Japanese folklore and Mike Mignola. My only complaint is that there aren’t more of these films or at least a TV Show! [yasr_multiset setid=4] [yasr_visitor_multiset setid=4] Let us know in the comments your thoughts on Hellboy Animated: Sword of Storms, your favourite animated adaptation of a comic and be sure to check out our review for Hellboy & The BPRD! Buy tickets for BGCP Comic Con in and around Glasgow Scotland – BUY TICKETS Check out all of our Comic, Movie, Television and Videogame Reviews HERE and our Podcasts/Interviews HERE If you want to be part of the BGCP community, Join us on Discord, Twitter, Instagram etc then click HERE

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Review – Blade Runner 2029: Reunion

Review – Blade Runner 2029: Reunion SUMMARY After the events of the original Blade Runner, the replicants caused a blackout in the Tyrell archives, scrubbing the records of existing replicants. The virtual and moral line between humanity and a surviving species is lost to the darkness. One Blade Runner on this thin tightrope looks to make the replicants permanently disappear, one way or another. ART With the exception of the beautiful neo-noir cover art, the artwork throughout the novel is more akin to Akira.  There’s a rugged darkness to the original Blade Runner and even it’s colourful sequel Blade Runner 2049 that doesn’t come through here. This is more of a comparison to the films rather than a critique as Lesko’s grainy Akira-like sci-fi palette totally works for this story and is nevertheless beautifully illustrated. It may be a design choice by Guinaldo to exclude the glowing iris of the replicants in order to make the distinction between man and machine all the more difficult to decipher. The inclusion of the subtle distinction however could help in establishing the story’s Blade Runner setting as well as make for some awe-inspiring artwork that tells it’s own story. WRITING With a clear understanding of the source material, Johnson is able to manipulate and engineer his own interesting social dilemmas and gripping scenarios within the thought-provoking mythos of Blade Runner. As well as this, he demonstrates some noir detective chops with memorably poetic dialogue. Something I really admire about the story is how it is uniquely it’s own story, there’s very few callbacks or foreshadowing to events before or after it. Johnson’s worldbuilding is expertly paced throughout, allowing the reader to invest in the complexities of each character. More Blade Runner is good Blade Runner! OVERALL In conclusion, Blade Runner 2029: Reunion is a stand-out and eventful storyline with so many moving pieces, set in the beloved dystopian future of Blade Runner, you’ll think it was directed by Christopher Nolan. Between the grizzly darkness of the original film and the polished luminescence of it’s sequel, this comic stands ironically in the middle with a classic look and a refreshingly inventive story. [yasr_multiset setid=1] [yasr_visitor_multiset setid=1] Let us know in the comments your thoughts on our Review of Blade Runner 2029: Reunion, what your favourite Blade Runner film is and what else you’d like to see us cover at BGCP! Buy tickets for BGCP Comic Con in and around Glasgow Scotland – BUY TICKETS Check out all of our Comic, Movie, Television and Videogame Reviews HERE and our Podcasts/Interviews HERE If you want to be part of the BGCP community, Join us on Discord, Twitter, Instagram etc then click HERE

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Review – Heavy Metal (1981)

Review – Heavy Metal (1981) Directed by – Gerald Potterton, John Bruno & Others Produced by – Ivan Reitman Written by – Dan Goldberg, Len Blum, Dan O’Bannon & Others Starring (voice talents) – John Candy, Eugene Levy, Harold Ramis & Others Release Date – 7th August 1981 Intro A glowing green orb – which embodies ultimate evil, terrorizes a young girl with an anthology of bizarre and fantastic stories of dark fantasy, eroticism and horror. So let’s take a trip back to 1981 and revisit the first animated movie from Heavy Metal. I wasn’t born at the time but I remember discovering this in the late 90’s and being overwhelmed by how utterly insane it is. And it had a kick-ass soundtrack! Re-watching it again many years later, how would I feel about it now? Story/Writing Based on the American Comic magazine of the same name, Heavy Metal (1981) the animated Sci-Fi film has a somewhat cult following. In no small part to the graphic violence, gratuitous sex/nudity and out of this world Sci-Fi stories. The Movie itself has several writers and they combine for six tales, each revolving around the mysterious green orb. A cabbie saves a girl from mobsters, a nerd transformed into a stud, a space captain on Trial, a WW2 bomber crew turned into zombies, the pentagon secretary abducted by aliens and the final tale in which the orb transforms a docile tribe into killers. The stories themselves are entertaining and certainly they might be served better with modern day animation. Art/Animation/Visuals Whilst the animation may have been fresh back in the 80’s, it has not aged well. With the advancements in digital technology, the artwork in this movie is somewhat obsolete. It doesn’t mean that it is unwatchable. People still like a bit of nostalgia. I’m sure some fans of Heavy Metal will still enjoy this. And people under the influence may enjoy the visuals even more! Overall Heavy Metal (1981) – The animation has not stood the test of time unfortunately. And as a result, if you are watching this for the first time, you may be disappointed. But it’s still entertaining from a Science Fiction point of view. And if you like a bit of nostalgia and gratuitous violence and graphic sex/nudity, this is right up your street! Not forgetting the assembly of amazing bands for the soundtrack! If you can handle the severely outdated animation, then I’m sure you will enjoy what is regarded as a cult classic. If you enjoyed our review of Heavy Metal (1981) then leave a comment or rating below. [yasr_multiset setid=1] [yasr_visitor_multiset setid=1] Buy tickets for BGCP Comic Con in and around Glasgow Scotland – BUY TICKETS Check out all of our Comic, Movie, Television and Videogame Reviews HERE and our Podcasts/Interviews HERE If you want to be part of the BGCP community, Join us on Discord, Twitter, Instagram etc then click HERE www.bigglasgowcomicpage.com

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Review – LOVE DEATH + ROBOTS: VOLUME 2

OVERVIEW Love Death + Robots: Volume 2 is the long awaited follow up to the shockingly dark animated anthology of short stories, brought to you by Deadpool’s Tim Miller and Seven’s David Fincher as well as Jennifer Miller and Josh Donen. The show is known for its masterful artistry, brutal violence, virtuosic genre diversity and very real ethical dilemmas of the future to be. Be sure to check out Dan’s review of Love Death + Robots: Volume 1! With that being said, let’s dig into this existential nightmare and get whimsically uncomfortable! AUTOMATED CUSTOMER SERVICE Like Wall-E meets Hal 9000, this introductory episode perfectly sums up what Love Death + Robots is all about. Eerily realistic but cartoony animation mixed with humorous tension and a dark commentary on household machines and customer service. You won’t be scarred for life with this one but you will be frightfully giddy and uncomfortable throughout.  ICE What does it mean to be a modded human being? Are you better or just different? One brother looks to prove himself as an equal amongst a gang of modded beings (including his younger brother) on a thrilling but beautiful race across the ice. The animation is sharp and cold to synergise with its gripping brotherly narrative. The only downside being some hoaky dialogue which I think is supposed to be cool.  POP SQUAD In a world of revolutionary evolution, overpopulation is a crime. The birth of immortality breeds inhumanity as one cop discovers. This is the “I can’t believe it’s not butter” of computer-generated animation in this series; with the exception of some artistic choices (characters would be right at home in the Dishonoured franchise), you could believe this was a live action Blade Runner spin off. Despite the heavenly possibilities of a futuristic utopia, the story is a dystopian abyss of the primal human condition that will pull on your heart strings.  SNOW IN THE DESERT Regenerative immortality is only a peaceful existence if everyone has it, otherwise you’ll be hunted down for what makes you tick. Did you like The Mandalorian but wished it could be Rated R? Here’s your episode! Once again, seamlessly computer-generated animation to the point where you might as well make it a live action story, brought down a little bit in its action sequences that can look somewhat rubbery at times. Otherwise, this is once again a perfect trifecta of love, death and robots.  THE TALL GRASS The distant lights of the dark don’t always lead to safety, stay with the train or risk not coming back. Usually I’m not a fan of the jittery shell shaded animation style but its utilization here blends impeccably with the creepy industrial age charm of this episode. In comparison to other episodes, this is the least impactful but no less thought-provoking in its themes and artistry.  ALL THROUGH THE HOUSE There’s a reason you need to be sleeping when Santa comes to town, these two curious kids will never forget to be good. This is the shortest but potentially the best episode of this volume. If you enjoy practicality in your stories such as stop motion animation and Pans Labyrinthian horror, I’m sure you’ll agree that this is a certified Christmas classic for all the family. Kids gotta learn to behave some way or another! LIFE HUTCH Never before has a pet playing with a laser tory been so stressful. Just the uncanniest of valleys in terms of life-like animation here, I’m unsure at times where the line between live action Michael B. Jordan and animation lands throughout this episode. You’ll feel every shot of pain, hopelessness and isolation in this space thriller. Welcome to Life Hutch! THE DROWNED GIANT Ending on a colossal note, we are invited to experience an Osymandian tale of woe and modern society in the face of the grandiose and gargantuan. Where there is no life or power, humanity dwindles and leaves only a materialistic carcass. While by no means a poorly animated episode, in fact it is suitably unbelievable how detailed and realistic the animation is, the crutch of this episode is the thought-provoking message of humanity’s eclipsing capacity for inhumanity and a commercialised circle of life.  OVERALL In conclusion, Love Death + Robots: Volume 2 is a solid and surprisingly easy watch. There are significantly less episodes than its predecessor and that loss is not entirely made up for with extremely diverse animation styles. The styles utilized however, bestow an uncanny valley of realism and a bouquet of beautiful colours and artwork to blossom the masterful short stories. In my opinion, less is more. I personally began to tune out towards the latter episodes of Volume 1. This volume lands a softer blow in comparison to the viscerally disturbing twists and menacing gore of Volume 1 but rest assured, that trauma is still present and is sure to keep you on your toes! If you enjoyed our Review of LOVE DEATH + ROBOTS: VOLUME 2 then rate or comment below. [yasr_multiset setid=4] [yasr_visitor_multiset setid=4] Let us know in the comments your thoughts on Love Death + Robots: Volume 2, your favourite episodes and be sure to check out Dan’s review of Volume 1 and Netflix’s Trese! Buy tickets for BGCP Comic Con in and around Glasgow Scotland – BUY TICKETS Check out all of our Comic, Movie, Television and Videogame Reviews HERE and our Podcasts/Interviews HERE If you want to be part of the BGCP community, Join us on Discord, Twitter, Instagram etc then click HERE

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Review – Cyberpunk 2077

Review – Cyberpunk 2077 Developer: CD Projekt Red Publisher: CD Projekt Director: Adam Badowski Genre: Open-world RPG Release Date: December 10th 2020 As today marks the six month anniversary of its release, I decided that it was finally a fair time to review Cyberpunk 2077. Since its infamous release in December of last year we have seen a number of interesting things emerge surrounding this game. First of all, we saw the hype train for the game come to a screeching halt when its review embargo eventually lifted, (just a worrying 3 days before the game’s release, which is always a red flag,) and we first learned of the type of game that we were getting. The realisation hit gaming fans collectively that we were not getting the ultra-polished, smooth, flawless experience that we were promised in the game’s marketing and previews. Instead we were getting something that was janky, largely unfinished and even totally unplayable on certain platforms. The next scandal came when Sony announced that they were pulling the game from the PS Store following an overwhelming mass of complaints regarding the game’s lack of quality. Refunds on Steam also reached a quarter of a million the very next day after the game released on December 11th. Then in January of this year, Jason Schreier published an article via Bloomberg, where it was reported that the game’s developers knew that this game was never going to be ready by late 2020. The dev team apparently thought that they had another two years left to finish the game saying, “they expected the game to be ready in 2022.” Multiple memes, apologies, hotfixes and patches later and I finally feel that writing a critique of Cyberpunk is now fair game. CDPR have had their chance to fix their mess and if a game still isn’t ready to be experienced six months after its release, then it probably never will be. First of all, I’d like to say something in the game’s defence. As the internet likes to do with most things, the glitches and other technical issues present in the game were vastly overblown. While I did enjoy the memes that spawned from this, the game is far from unplayable. I played in on 3 platforms; a base PS4, a PS4 Pro and PC. Whilst it did run slightly better on the Pro and the PC, it was far from unplayable on the base PS4, – even back in January before the patches dropped. I did run into multiple graphical issues, lagginess, mini map problems and two or three crashes, but nothing that really made me feel that this thing was totally unplayable at any point. That said, a AAA game of this calibre still should not have launched with that many issues still present. Although I think that the technical problems were exaggerated, that does not excuse them entirely and I still don’t think that it is acceptable to let a AAA developer like CDPR get away with releasing a game in this state. The thing is though, most people would have been willing to suffer through the technical issues that plagued the game, if the game itself was an incredible experience that made it worth persisting with. Unfortunately, I really don’t feel that it is. Let’s start with the game’s plot as the story is usually my main reason for playing a game and the aspect of any game that I enjoy the most. The story in Cyberpunk is mediocre at best. First of all, just because Cyberpunk takes some of its aesthetic influences from Blade Runner, that doesn’t mean that you are going to get a story worthy of Philip K. Dick. Rather than that, you can expect to endure some of the cringiest dialogue I have possibly ever heard in a western videogame and some really try-hard edgelord quips. There were no characters that I ever felt attached to through this entire game. I won’t spoil it here, but a character dies early on in the story and the game tries to make a big deal out of it suggesting that you should care. I felt absolutely nothing during this entire sequence due to the sub-par writing and voice acting and eventually resorted to skipping through the dialogue just to get it over with. Still though I persisted, telling myself that maybe the game it will get better once Keanu comes into it. I like Keanu. Everyone likes Keanu. And then the game does the impossible, – it manages to turn one of Hollywood’s most beloved actors into an insufferable dick. I never thought that I would have said this in a million years, but Keanu’s character of Johnny is one of the worst parts of this game. Again, the dialogue that he is forced to spout is total bottom of the barrel garbage that sounds as though it has been written by a basement-dwelling 15 year old. Frankly the story’s greatest mercy is its brevity, as the main plot in Cyberpunk is a lot shorter that most people expected. A short game is usually fine with me, as it usually results in a tightly woven, well-constructed narrative that doesn’t overstay its welcome or drag on too long. However, that is not the case with Cyberpunk. Instead, the final mission is upon you like a slap in the face, without any significant build up or indication that you are approaching the story’s conclusion. I approached the waypoint for what I thought was just the next mundane mission and was greeted with an immersion-breaking ‘point of no return,’ dialogue box. That message doesn’t always mean that the game is ending though, as other games will hit you with this message when you are about to start a particularly long mission. I thought that this must be the case, but decided to look it up anyway on the off-chance and sure enough I had reached the final mission in the game. It genuinely left me scratching my

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