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Bates Motel: “Midnight” Review

Wow, that was quite a finale. Bates Motel pulled out all the stops in “Midnight,” revealing insight into all the major characters, while showing us how White Pine Bay really operates. In typical finale fashion, the episode ends with one hell of a cliffhanger that really changes the rules for Season 2.

There are so many things to touch on here. The episode opens with Norma approaching Sheriff Romero and asking for protection. As always, Romero is vague, briefly noting that he’ll “handle it,” without providing any further details. I especially like the way Norma obtains the handgun from Dylan to protect herself. It’s interesting how Dylan still seeks Norma’s approval, even if he claims that he wants nothing to do with her. The training was a great moment, with a touch of comedic timing. Likewise, it all led to a tense, underplayed, and effective showdown between Norma, Romero and Abernathy.

The most interesting revelation in “Midnight” is the insight into Norma’s past. I like the way her sexual abuse was foreshadowed in her therapy session (and to be fair, it was foreshadowed with her scar way back in “Nice Town You Picked, Norma”). The conversation with Norman was beautifully acted and directed (I loved the shot with the clock on the mantel), as she confides her secret. Furthermore, the writing is subtle and effective; the scar is not from a knife wound or anything too drastic, but rather from an iron touching down on her leg. And let’s not forger that a smoking iron was one of the first images seen in the pilot. Norma’s scar ultimately serves as a constant reminder of her troubled past.

However, “Midnight” starts to raise the question: how is Norma so functional, considering every man she’s known has been physically or sexually abusive? That is, except for Norman, and I suppose that’s the crux of the series. Regardless, her confession to Norman is one of the best scenes of the series so far. There’s a certain intimacy in confiding a secret, which Norman often equates with a sexual intimacy, like in the scene with Miss Watson arguing on the phone. The older adults treat Norman as one of them, yet he misinterprets their physical and emotional outreach. Norma and Miss Watson are seeking empathy, not sexual contact, and Norman doesn’t quite understand this.

It’s interesting that Norma and Norman are so often abused by the characters they come into contact with. There’s an inevitability to the series (we know how it ends, after all), and a certain sadness in knowing that these two are doomed to a truly morbid conclusion. So, I suppose we really shouldn’t be surprised by Norman’s actions at the end of “Midnight.” However, in killing Miss Watson (by slitting her throat, no less), the writers have taken a huge leap forward… some might even argue too far.

After all, this murder has no context whatsoever (other than Miss Watson being physically attractive?) and is just as cruel as the shower scene of Psycho. He’s not protecting anyone by murdering his teacher, not even himself. Regardless, Norman and his mother get to have their happy ending, while we, the audience, know what truly occurred. Then again, even Norma suspects the worst; a fugue state is never a good sign.

And, so ends the first season of Bates Motel - just as twisted and compelling as how it started. The show-runners have done a phenomenal job with the series; they clearly have a tremendous respect for the source material, and have found some stellar actors to carry the performances. I throughly enjoyed these ten episodes, and I’m eagerly looking forward to next season (which starts filming this summer).

If you’ve been reading my reviews, I thank you for your time, your comments, and your speculation. I’ll see you all next spring for season 2!

-MP

Note: This review is taken from Review Hub Central.

Bates Motel: “Underwater” Review

“Underwater” isn’t quite as thrilling as recent episodes of Bates Motel, but it really feels like a setup for next week. Many television shows pull out all the stops on pen-ultimate episodes, but others save it all for the finale. The latter feels like the case with Bates, as numerous plot points are foreshadowed for a confrontational finale. That’s not to say “Underwater” is a bad episode at all, but it certainly feels like a set up.

One aspect that works well here is the way Abernathy is underused. He barely appears for more than a minute at the conclusion, but he is very much present in “Underwater.” Shelby’s corpse, the flowers, the drive-bys: they all hint ominously at what’s to come. And that finale scene in the car is just great. Jere Burns embodies such a frightening presence, in a role quite different than his AA-Counselor persona on Breaking Bad. His mannerisms and pithy threats are just perfect. “I’ll kill your sons first. And then I’ll kill you. Goodbye.”

There are numerous interesting Norman moments in “Underwater.” Though I wasn’t a huge fan of the drowning Bradley nightmare (I generally prefer concrete conversations to obscure dream sequences), I loved every scene with Miss Watson. She always seemed a bit off to me, but she really comes to life in this episode as a nurturing teacher trying to save Norman from his mother. The notion of working to get a short story published just seemed right and a nice change from her pushing Norman towards the track team. The final scene is especially effective when she tells Norman to get the story published anyway.

I like that Norman is finally being treated well at school, and his confrontation with Norma about moving is another strong sequence. He calls her out on her lingering desires to “start over,” flat-out calling her crazy. Their relationship is fascinating, as later that night, they sleep in bed together. There are so many interesting dynamics going on, and on one hand, Norma seems to be intentionally over-nurturing. She feels as though smothering her son (who is displaying numerous psychotic tendencies) may compensate and “cure” him. Yet, on the other hand, Norma is inadvertently making his condition worse.

Just a quick side note: how creepy is that damn stuffed dog? What a nightmare. It can become comical if overused, but it certainly had a scary vibe in “Underwater.” Actually, in retrospect, there were numerous comic moments in this episodes, from Emma’s pot cupcake, to Norma’s interactions with the motel guests, to the decision to move based on a Google search of the “safest places in America.” While I like that Bates Motel never becomes too heavy or dark, the comic tones of “Underwater” felt a little out of place this late in the season. It’s a minor qualm, but I hope next week is a full-fledged drama.

My other complaint (the same as last week, actually) involves Dylan’s story - specifically, his relationship with Bradley. It feels a bit forced and moves too quickly. They sneak into her father’s office, find out that he was having an affair, and then come to a mutual friendship within about three minutes of screen time. Nicola Peltz does an admirable job, but that range of emotions is a lot to ask of any actor.

Overall, “Underwater” really succeeds at getting me excited for next week’s finale. There are so many pieces at play - the midnight meeting with Abernathy, the Winter Formal (Carrie, anyone?), Bradley and Dylan’s relationship, the missing money - and it can all spiral out in any direction. So far, Bates Motel hasn’t disappointed and I have a feeling this is going to be one hell of a finale. I’m counting down the days.

What are your thoughts on “Underwater,” or the series so far? I’d love to hear your thoughts and speculation below.

-MP

Note: This review is taken from Review Hub Central.

Bates Motel: “A Boy and His Dog” Review

Well, it’s safe to say that White Pine Bay is the craziest fictional town in America, and all the insanity somehow falls within the block surrounding the Bates Motel. Tonight’s episode, “A Boy and His Dog” seems slower-paced in comparison to this fast-moving show, until we get to the ending. More on that later because the end reveal will certainly be polarizing; after all, it pushes Bates Motel further away from reality and into the realm of b-horror.

Almost every scene in “A Boy and His Dog” is dramatically interesting, so I’d like to start with what doesn’t work. I find Dylan’s road-trip adventure the least compelling aspect of the episode; the fight felt like an unnecessary push to deliver action, and the drug-producing hippies felt too stereotyped and artificial. Likewise, Dylan’s character arc (turning from uncertain follower to demanding leader) just wasn’t all that interesting. Fortunately, nearly everything else in “A Boy and His Dog” was.

The taxidermy was a great little scene, and seeing that dead dog being stretched out bordered on dark comedy (it was most blatant when Norma awkwardly pet the skinned animal). I like that Norma tries to interfere and stop her son from playing with corpses. She doesn’t quite see the serial-killer-esque actions, but she is concerned that he’ll be labeled in school.

I initially had mixed feelings about Norma and Norman going to a therapist. I feared trying to psychoanalyze Norman’s complex psyche would detract from the careful characterization and subjectivity of the narrative. However, I’m glad to see that the therapist has already been dismissed, and that the scene was actually a way to shed light on Norma. Her defensiveness when he suggested her control issues was played out brilliantly. As always, Vera Farminga is flawless in her portrayal of Norma Bates. On a side note, I loved her telling Norman that he needs to control his emotions better. It was perfectly hypocritical.

Last week introduced us to the man in room nine, and this week shows his true capabilities. It’s still a bit unclear how far the sex slave conspiracy runs, but at this point, it seems the whole town is in on it. I wondered at the conclusion of this episode if the drug dealers staying at motel was the original plan. After all, who else are all these rooms needed for? Their staying at the twelve rooms for a week every other month would fit the time frame. It’s unclear at this point, though I’m sure it will be addressed in the final two episodes.

But, let’s get to that ending. Norma walks up to her bedroom and finds the deformed, twisted corpse of Shelby lying in her bed, badge stuck to his autopsy-stitched chest. It was nightmarish imagery that raises all kinds of questions: who left it? We assume the man in number nine, but did he have an accomplice? Where did he get that body? Was the sheriff involved? For now, the questions are unanswered, but this was a big step for Bates Motel, and it ultimately raises the dreaded how-much-of-this-can-really-happen-to-one-person question.

As Bates Motel moves further away from reality, I continue to find myself intensely invested in the characters and their relationships with one another. Though I posed logistical questions throughout this review, my main concern as a viewer is simple: how is this going to affect Norma and her son? That’s the question I find myself asking at the end of every episode, and the show continually delights with a careful exploration.

Bring on the final two episodes.

-MP

Note: This review is taken from Review Hub Central.

Bates Motel: “The Man in Number 9” Review

If last week’s “The Truth” felt like a season finale, tonight certainly felt like a season premiere. “The Man in Number 9” definitely has the elements of a reset, as old plot lines are tied up and new ones are introduced. In a way, this episode feels a little disjointed at time, especially since so much time is covered. But thanks to a truly lovely ending, “The Man in Number 9” ties it all together.

The first half of this season is wrapped up in the teaser. Norma, Norman, and Dylan have a talk with the sheriff, who quickly resolves the story threads with a quick, “here’s what we’ll tell everyone.” It’s efficient and effective; the writers are basically telling us to overlook any lingering questions and move on. After the opening credits, Norma returns to her enthusiastic self. I like the way the episode traditions from day to night, as the darker elements of this family come to fruition. It channels a bit of The Killing’s territory.

We all know Norma’s happiness won’t last long, and she’s back to her neurotic self early on. Still, she’s less of an emotion wreck here, and her actions feel more calculated. Everything from hiring Emma to stalking Bradley - it’s all creepy and well planned. Then comes her highly inappropriate sex talk with Norman. It’s all sharply written, and could have easily been overdone. There’s just the right balance of malice and jealousy in her words and body language. My only qualm is the way Norma imagines Norman and Bradley together; it feels too much to get into both her visions and Norman’s.

However, “The Man in Number 9” really allows Norman Bates to shine, while his mother has traditionally been provided with most of the dramatic tension on this series. From the beginning of the episode, Norman and his mother have been at odds, and Norman ultimately wants to believe he can lead a normal life. There’s a really sad culmination at the end, as Norman holds the dead dog (an object of normalcy, as Norman calls it) and mutters that he was wrong about everything. That scene was so well handled, tying all the pieces together in a touching and sad realization.

I really like the idea of the man in room 9; he’s completely over-the-top creepy, and I’m glad the writers didn’t resolve his story arc too soon. Rather, this was just an introduction, and his demands at the end (the whole block of rooms for a week every other month) is perfectly ominous, and his connection to Keith Summers only heightens the tension. Likewise, I absolutely loved the scene of Norma waking in the night, sensing someone else in the house. That was filmed beautifully.

I should also mention that we see Norman performing his mother’s dialogue for the first time on the series. No, it’s not quite the performance we see in Psycho, but it has all the elements and was another nice nod to Hitchcock’s classic. The moment came in at just the right time, following Bradley’s rejection of Norman. I wonder how far this series will take his transformation.

Overall, I really enjoyed “The Man in Number 9.” It was an effective follow-up to the chaos that ensued last week, and it allowed for a greater exploration of Norma and Norman’s fraught relationship. For me, it was the moving ending that tied it all together. I can’t wait for next week.

-MP

Note: This review is taken from Review Hub Central.

lets-get-mildly-suggestive asked: I love your theme! Anyway, talk to me about Bates Motel!

Thank you! It is quite amazing; one of my favorite new shows. But, I’m a sucker for the original Psycho, and I’m still surprised that Bates Motel is so well done. I’m assuming you like it, too? :)

Bates Motel: “The Truth” Review

Wow, that was quite an episode. Last week, I criticized “Ocean View” for packing too much into one episode. “The Truth” moves even faster, yet it is far more successful and gripping. The reason? “The Truth” is focused on one situation, and it brings all the episode arcs to a head, while also containing some major revelations.

I admire how this show has become hyper-serialized, like Breaking Bad. Each episode picks up immediately after the previous one, and “The Truth” spans a single night at the Bates Motel. Based on the teaser for “The Man in Number 9,” we’ll be right back on the steps of the mansion next Monday.

At the start of “The Truth,” Norma, Norman, and Emma strategize on how to handle the victim in number 11. I loved Norma’s initial reaction: the spaced-out flee to her car as Norman jumps through the window and takes the wheel. Norma Bates is an emotional time-bomb, and her reactions range from cold and calculating (as seen in the revelation at the conclusion) to out-of-her-mind screaming.

Early on, Dylan gets a promotion (he’s only supposed to be 21? He looks 30!) after his revenge hit-and-run in “Ocean View.” We also find out that he’s purchased the ocean-view apartment and wants Norman to move in with him. On that score, I was a little confused why they find it a priority to get the tool belt. Don’t they also believe that Shelby has the carpet fiber? That’s the truly incriminating evidence, so I’m not sure why they assume Norma is safe after discovering the belt among Keith Summers’ boat. Shelby can still blackmail Norma with damning physical evidence.

Regardless, I love the way that this episode spirals out of control; the escalation is handled perfectly and took me by surprise. Who would have believed this would end with a shootout in the Victorian mansion? Once Shelby showed up, things looked bad, but the way it all progressed was flawless. Hearing the water in the pipes harkened back to the pilot, when Norma and Norman had Keith Summers’ body in the bathtub. This time, Norma was found out and that poor victim had to flee in to the woods. I wonder if she’ll make a return next week.

I especially liked the scene where Dylan tells Norma that Norman is moving out. Her reaction was fascinating. There were so many horrible, immediate problems occurring, yet Norma only lingered on the loss of her son. This inevitable anger and confusion led them to be caught by Shelby, who returned with a vengeance.

The hostage scene and shootout was especially well done. It reminded me a bit of the original Scream. The look of the house and the violence of the situation just had that same ominous tone. Norma dragging Norman out of the house as Dylan and Shelby fought had a wonderful pacing.

Then came the final revelation, which I have mixed feelings about. By the time Norma started to explain what happened to Sam (Norman’s father), the twist was predictable. However, the scene from the pilot is re-dramatized with a deeper understanding. While the revelation (“the truth”) is quite interesting, the story took a bit too much time showing it to us. Though I suppose dramatizing the scene and showing it to us proves that it is real, not just another lie Norma tells to manipulate her sons.

As noted, “The Truth” is an incredibly strong episode of Bates Motel, one of the best of the series. I can’t wait to see what happens when the sheriff shows up on the scene. That can’t be good.

What did you think of “The Truth?” As always, I’d love to hear your thoughts.

-MP

Note: The review is taken from Review Hub Central.

Bates Motel: “Ocean View” Review

This week’s episode of Bates Motel certainly packs in a lot of content. For better or worse, “Ocean View” answers almost all the questions we were asking at the conclusion of last week’s episode. Will Norma go to jail? What’s really going on with Shelby? Was that girl in the basement real? It’s amazing how much ground is covered here.

The beginning of “Ocean View” is especially strong. Norma is in a holding cell when Norman and Dylan come to visit. Interestingly, Norma and Norman are on opposite wavelengths throughout “Ocean View.” When Norman is kind and supportive, his mother is not, and when she tries to comfort Norman, he does not reciprocate. It’s an interesting dynamic, and it works quite well. I especially liked the scene where Norma kicks her son out of the car. It really shows their relationship - with all its complexities - quite well.

I love where the writers are taking the Norman/Dylan relationship. There’s great chemistry between the two, and Dylan taking on the protective-older-brother role feels well-earned. After all, he’s live with Norma for years. There’s a great triangulation between the characters, and Norma’s jealousy is fascinating.

With Dylan’s character arc, the shooting felt especially out of place and the weakest aspect of “Ocean View.” Perhaps it’s because the story isn’t resolved, but it all felt a bit unnecessary. There’s already so much going on, and the added drug market feels like the story is veering off in a weird direction. Likewise, Dylan running down the newly-introduced shooter happened too quickly.

I suppose that’s my biggest qualm with “Ocean View,” and with Bates Motel as a series. It all moves so fast. Who expected Norma’s entire criminal case to be wrapped up in half an episode? The charges are dropped before they are even explored. Likewise, Shelby acts incredibly careless by stealing the evidence. Still, I really enjoyed the scene between Shelby and Norma, and I’m excited to see where that relationship goes next week… especially with that final revelation.

I was 99% certain that Norman had hallucinated the Asian sex slave. And, those markings on his ankle? Let’s not forget that Norman would dress up as his mother in the original Psycho. Performance has always been a part of his psychosis, and I assumed the physical manifestations on his ankle were just further proof of his own twisted re-enactments.

But, no. Norman and Emma find the sex slave on Keith Summers’ boat (in an incredibly eerie scene). After the victim conveniently passes out, they bring her to the motel. I tried to justify how this could possibly be an hallucination. It had to be, right? There’s no way all this crazy stuff can happen to one family.

Yet Norma walks in, questions the victim, and we’re given the proof. For the first time, I was just as floored as Norma by the revelation. It felt surreal and trippy. With so many huge changes in the series (all happening within one episode), I think Bates Motel has come to a crossroads. The writers needs to be very careful with how they proceed from here because the show can easily fall into the “none of this is believable, at all” trap.

There’s so many great moments in this show that I would hate to see it get bogged down by too many careless plot points. Here’s hoping the writers slow down and spend the remainder of the season exploring all this vastly rich material. What did you think? Was there too much? As always, I’d love to hear your thoughts.

-MP

Note: This review is taken from Review Hub Central.

Bates Motel: “Trust Me” Review

I’m a huge Hitchcock and Psychofan, but when I heard about Bates Motel coming to A&E, I laughed a bit. It sounded clunky, and I thought it would be yet another cash-in on a classic piece of cinema. But then I started to see some of the footage and early production information, and the show began to catch my attention. I watched the pilot, loved it, and after only four episodes: I’m hooked. Bates Motel is anything but a cash-in.

There is so much to praise about the show, but two aspects stand out especially. First, the atmosphere. Bates Motel feels like it is set in the shadowy realm of Twin Peaks (and I mean that as a compliment), with strange happenings and a unique feel. There’s a 1960s element at play; even though the show is supposed to be unfolding in a contemporary setting, everything from costume to set design is markedly 1960s. Secondly, and more notable: the acting is compelling. The casting is phenomenal with truly stand out performances from Vera Farmiga, Freddie Highmore, and a strong secondary cast.

Tonight’s episode, “Trust Me,” is all about relationships and issues of trust. The episode cleverly takes place in twos: characters are always paired with another, exploring each and every relationship with strong attention to detail. We see Norma & Norman’s twisted, multi-faceted dynamic, which again proves to be compelling. We also see Norma and Dylan’s fraught relationship, filled with demons from the past. But, most notably, Norman and Dylan arrive at some semblance of peace, in which Dylan proves to be a provider and a possible redemption for Norman (though as a prequel, we already know that Norman is doomed).

Other relationships come to a head, including Norman and Bradley’s flirtations. We learn here that Bradley’s father was killed in the accident from episode two, and I wonder if the sexual imagery at the conclusion of “Trust Me” is meant to be taken literal or as another figment of Norman’s complex psyche. On that score, it’s hard to know what’s real and what isn’t, and though that dynamic works for now, I can see it wearing thin as the series progresses. If we must second-guess every shot (is or isn’t think Norman’s hallucination?), the show can grow frustrating. Hopefully, the writers won’t overuse the gimmick.

While I love the pairing in “Trust Me,” one must also note how much ground is covered in this episode. Norma has already been arrested, and I can’t wait to see how that plays out in the weeks ahead. Norma is always teetering on the brink of emotional insanity (we see some of it at the garbage dump and with Dylan), which gives this show a strong confrontational approach, like Breaking Bad. Fortunately, Farmiga is more than capable of displaying such a wide range of emotions.

My one criticism with the show (especially in previous episodes) has been the need to add so many layers. I suspect that’s another reason why Bates Motel has been compared to Twin Peaks, because there is an unbelievable amount of weird stuff going on. “Trust Me” has certainly slowed things down a bit, and the show has taken a step back and is starting to explore all that’s been laid out. Still, when Norman explained everything to Dylan, it felt like a bad joke: “Oh, I forgot! And there’s an Asian sex slave tied up in the basement of the cop who is investigating the man who raped Mom but was murdered and dumped in a lake. His hand just washed up, by the way.”

Still, that might be what I like about Bates Motel: it’s ambitious and unrelenting. The show is willing to explore the dark side of the human psyche. Fortunately, A&E announced today that Bates Motel will return for a second, ten episode season. That’s great news and I can’t wait to see where this series takes us.

-MP

Note: This review is taken from Review Hub Central.

Luigi’s Mansion: Dark Moon Review

Poor, Luigi. He got his first shot at going solo in Luigi’s Mansion back in 2001, providing a truly unique launch title for the Nintendo Gamecube. The game garnered a cult following over the years, but it was hardly considered a beaming success back at launch. Many unfairly compared the mysterious, brooding gameplay of Luigi’s Mansion to the happy-go-lucky platformer, Super Mario 64. The game received mediocre reviews, and faded into obscurity. Luigi went silent for twelve years, appearing in cameos alongside his ever-popular brother, Mario. That is, until last Sunday, when he returned to his ghost-busting self in Luigi’s Mansion: Dark Moon.

Dark Moon (known as Luigi’s Mansion 2 elsewhere - again, I suspect due to the mediocre reception of the first game in North America) is an all around fantastic title. It oozes with personality, from the moment King Boo breaks up the Dark Moon right up and through the credits. Dark Moon certainly has more story elements than Mario’s recent affairs, and the careful attention to detail shines through every aspect of its design. Luigi is disrupted from a relaxing night after King Boo (back with a vengeance after the conclusion of the first title) releases malevolent spirits into the once peaceful Evershade Valley. The ghosts are no longer friendly, and Luigi is tasked with recovering the fragments of the Dark Moon in an effort to restore balance to the town.

Fittingly, Luigi is terrified of ghosts and of things that go bump in the night. His slapstick comedy and shaky hands create a lovely atmosphere both child friendly and all around charming. In many ways, Luigi is the most defined Nintendo character with a unique and quirky personality. Dark Moon employs some lovely animation, and Luigi reacts realistically (and humorously) to his spooky surroundings.

This time around, there are five mansions to explore, and this allows for some great diversity. From basic haunted houses to mysterious catacombs and clock towers, Dark Moon has you covered. My biggest gripe with the game, however, is the mission structure. Professor E. Gadd constantly hounds you when you’re exploring, and he’ll tell you that a mission is over (even if you don’t think it is!) and then warp you back to his lab to lecture you. It’s a bit frustrating and detracts from the atmosphere. Likewise, it removes tension because if anything ever truly goes wrong, you know he can just bail you out and warp you away.

In terms of gameplay, Dark Moon is an absolute delight. A specialized vacuum cleaner, the Poltergust 5000 (apparently updated by Professor E. Gadd in the twelve years since the original) serves as a unique and challenging gameplay mechanic in which you must first stun ghosts with a burst of your flashlight and then suck them up. Like in the first game, you pull back in the opposite direction of the ghost in order to create the most suction. It almost feels like fishing, but when you’re trying to capture four or five ghosts at once, things become challenging, and you’re pulled all over the map. It’s great. The designers make you work for each ghost you capture.

This leads to another strength of Dark Moon: weapon upgrading. Over the course of the levels, you will scour the mansions for hidden gems and cash. Unlike the first Luigi’s Mansion, where the cash meant nothing until the end, your currency here is used to buy more powerful vacuum and flashlight capabilities. Yes, your flashlight, too, can be upgraded with the Light-Dark beam, which is used to discover hidden items and Boos in the mansions. There is a vast amount of unlockables and collectables scatted throughout the game, which only makes the gameplay all the more addictive.

Dark Moon also has a great Co-op and online multiplayer function, called the Scarescraper. Though I haven’t played around with this as much as the campaign, it goes a long way in extending the replay value. From what I’ve experienced, it’s as challenging and addicting as the main campaign.

But the campaign is the real treat for me. Dark Moon has a brilliantly conceived story, with just enough exposition and mysterious happenings to keep you intrigued. I love how the story employs a bit of a slow burn, in which photographs you inspect slowly unravel what’s actually going on. By the end of the game, the stakes are much higher and things begin to move with alarming momentum. It’s really well done and each boss is utterly unique.

Overall, Dark Moon is an absolute treat on the 3DS, and a reminder of why Nintendo remains one of the strongest publishers out there. The amount of content here is unmatched, and all of it feels so masterfully crafted. There are a few qualms: the mission structure, the forced (sort of non-responsive) gyroscopic controls, and the sometimes harsh no-checkpoint rule (on a side note, if you find a gold dog-bone, you get an extra life, so I suppose that’s a bit of a checkpoint). Really, though, these are very minor complaints in a game this good.

Before I wrap this up, I feel the need to mention the 3D visuals. This is by far the best looking use of 3D I’ve seen in a game. If you liked Mario 3D Land, you’re in for a treat. Just wait until you see that snowfall level. It all feels instinctively designed for this system, as each room is a little diorama with perfectly illustrated depth. This is the only game I’ve seen that looks infinitely better with the 3D turned up.

If you can’t tell by now, I couldn’t recommend Luigi’s Mansion: Dark Moon more highly. The developers put so much thought and care into every little nook and cranny of the spooky mansions, and it shines through. Ghostbusting has never been more fun. If you own a 3D, consider this a must-buy.

-MP

Note: This review was taken from Review Hub Central.