notfromoverhere asked: hi there :) and thank you so much for following!
No problem - I like your blog!
-MP
To get right to the point, “Enemy of My Enemy” was a great episode of Fringe that helps narrow the focus of Season 4. Don’t get me wrong: things are as complicated as ever, but the return of David Robert Jones provided an immediacy and urgency to the episode that worked quite well.
One of the main reasons for Season 4’s slow start involves the number of standalone episodes; that, and the strange “reset” that inevitably led to some confusion. The problem with many of the standalone episodes is the issue of pacing. Yet, here’s an episode that nails pacing, as the threat was introduced at the opening of “Enemy of My Enemy” and rarely let up.
The emergence of both universes working together helped to sustain the urgency and kept things moving at a fast pace. It’s nice to see the large ensemble cast used so effectively (even if it requires each actor to pay two roles; the payoff is worth it). Fortunately, the episode is also filmed and edited well, so it’s never too difficult or overwhelming to differentiate the characters (although, there were a few times the two Lincoln Lees confused me).
“Enemy of my Enemy” also fleshes out the conspiracy that’s been hinted at last week. Alternate Broyles is certainly working with Jones, and even Walternate - a character often pulling strings - seems to be in the dark. The ultimate reveal, of course, is Nina Sharp’s involvement. Not only is Nina working with Jones, but she’s also using her power to perform an ambiguous experiment on Olivia. It’ll be interesting to see what the writers have planned in the weeks ahead.
Thankfully, the Fringe writers knew when to slow down and allow for character moments to heighten the action-packed plot. Orla Brady once again gives a perfect role as Peter’s mother. Her reunion with Walter was especially poignant and effective. It was also an interesting little reveal that the events of “White Tulip” never transpired in this universe (if this is, in fact, another universe). Likewise, Walter’s dialogue with Peter was a nice little moment at the end.
Overall, “Enemy of My Enemy” is a really strong episode of Fringe that gives the series another underlying threat. The motivations and plans of David Robert Jones have yet to be revealed, and I wouldn’t have it any other way. He’s such an awesome villain.
I’m eagerly looking forward to next week. Let’s hope the show keeps it going at this pace.
-MP
Note: This review was taken from Review Hub Central.
Today is a good day to be a Resident Evil fan. Resident Evil 6 has officially been announced (check out the trailer above), while Capcom made a 3DS demo of Resident Evil: Revelations available for free on the Nintendo eshop. I can personally say that the 3DS demo is amazing - can’t wait for that release - and that Resident Evil 6 looks promising, too. It’s nice to see Leon Kennedy return from his Resident Evil 4 fame.
Any other fans out there? What are your thoughts?
Anonymous asked: Do you have a personal blog?
Nope, I just have the one blog with reviews and such. I do have a website (at reviewhubcentral.com) that’s much easier to navigate. As far as personal goes, there are a few essays on my site and you can always follow me on Twitter. Thanks for asking.
-MP
Fringe returned on Friday night for another batch of winter episodes. Thankfully, we’ll have the show back with week-to-week episodes through the end of February, and here’s hoping Fringe continues to keep fans interested. For now, “Back to Where You’ve Never Been” helps to solidify the somewhat-shaky Season 4 by reintroducing us to an old villain.
First, there’s a lot going on in this episode. “Back to Where You’ve Never Been” is one of those episodes that absolutely cannot work for a casual viewer. These are often the strongest episodes of Fringe, and “Back to Where You’ve Never Been” does a lot of things right. My biggest complaint, however, is that this one seems a little too ambitious in nature and a bit jumpy and disjointed as a result. Nearly every cast member is used: twice, in fact, as both the Regular and Alternate versions.
There’s a lot of switching between universes here, as Peter and Lincoln cross to the other side (here, using the device recovered by Massive dynamic) in hopes of returning Peter to his own timeline. We learn that Lincoln has some other infiltration ideas in mind, and character motivations consistently shift throughout the episode.
In fact, that’s one of the strengths here. I especially liked the reveal that Walternate isn’t the cruel character we expect; he seeks Peter’s help in finding out the nature of the shapeshifters. Likewise, the scenes with Peter’s mother are quite effective. I thought those played out very nicely and added a sense of humanity to an otherwise plot-heavy episode. Her desire to help Peter was externalized well; Orla Brady did a fine job once again.
But let’s get to the main topic, here: the return of David Robert Jones, a wonderful villain from Season 1. It was a fun move to bring him back to the series, and the fact that he’s been out of the picture for so long makes his motivations all the more interesting. We also see that he’s in contact with Broyles, which adds a conspiracy to the mix. On a side note, I liked the foreshadowing with Peter playfully mentioning that he cut a man in half (Mr. Jones, of course) using the transporter.
The ending also demands attention, as Olivia is visited by the observer (September) and told that all outcomes lead to her death. I thought the scene was well-directed and surprisingly creepy, but I’m not sure we can really believe the message. Still, Olivia’s death has been hinted at before, notably in last year’s polarizing episode, “Lysergic Acid Diethylamide.”
Also, one wonders why the observer was shot and what that possibly means in the broader scheme of the series. Who shot him? And if he dies, what does that mean for the balance between universes? No doubt we’ll find out in the weeks ahead, and I’m greatly looking forward to it.
All-in-all, “Back to Where You’ve Never Been” isn’t the best episode of Fringe, but it’s certainly a strong one that adds more pieces to the already complicated Season 4. What did you think? As always, let me know in the comments.
-MP
Note: This review is taken from Review Hub Central.
Beating any Legend of Zelda game is an undertaking in itself, and the same holds true for Link’s latest adventure for Wii: The Legend of Zelda: Skyward Sword. Skyward Sword is perhaps the lengthiest game in Nintendo’s 25-year timeline, and this particular tale is epic in both scope and execution.
The Legend of Zelda: Skyward Sword has received positive reviews, with many critics giving it a perfect score, citing it the best Zelda game ever created (even surpassing the hallowed Ocarina of Time). While, Skyward Sword is certainly not the best Zelda game in terms of innovation, it is a worthy entry to the franchise.
I want to start with a few frustrations and then move into what works. Skyward Sword changes the formula by taking a Metroid-approach to structure and layout. The over-world takes a page from Metroid Prime 3: Corruption in that there’s one large universe with numerous, smaller save points you can fly to. You’ll be revisiting these areas frequently as you upgrade your equipment and unlock new, previously hidden temples.
The problem with this structure involves the tedium of the multiple fetch quests. When it feels that you are finally making progress in the story, some random, unnecessary event causes you to fly around the massive universe, running errands for people you don’t like. Perhaps that’s simply the structure of Zelda, but it feels more frustrating than usual in Skyward Sword. I wanted to kill someone when that fat whale decided to rip up the music notes into a million pieces and scatter them in the ocean for you to find.
These numerous fetch quests could have easily been made optional, and though the game would have been shorter, it would have been more enjoyable. It’s these events that made Skyward Sword feel more like an assignment than a video game at times.
Also, some gamers might be dissatisfied with the graphical approach and conservative design. You won’t find voice-acting or photo-realistic images here. Nintendo takes a decidedly different approach that blends the worlds of Twilight Princess and Wind Waker. I personally like the style, and when you see what Nintendo did with some of the temples (especially those with the time crystals), I think you’ll agree that this was a wise choice.
Pacing and graphical limitations aside, Skyward Sword is an excellent and ultimately rewarding video game. The story is similar to what fans have seen before, and Skyward Sword cements the timeless story established in Ocarina of Time. It’s not the same tale but there are certainly parallels to be drawn. Skyward Sword is essentially an origin story of the Master Sword, and a fine one, at that.
Skyward Sword elevates itself above the rest of the series in terms of gameplay. The Wii Motion Plus 1:1 swordplay is spot-on and it’ll blow your mind as the game progresses. When you get to the final boss, you’ll revel in the new controls; in fact, it’s hard to imagine the series ever going back to a typical control set-up. From gently tossing a bomb with the flick of your wrist to flying your Loftwing with precision control, this is a game about accuracy and depth.
The clever layout, precision controls, heartfelt story, and wonderful music make Skyward Sword a solid investment. There’s so much to touch on in Skyward Sword, that I hope my introduction didn’t sway anyone away from purchasing the game. In fact, pages upon pages could be written about what Skyward Sword does right, and all the hits outweigh any of the pacing issues.
In the end, The Legend of Zelda: Skyward Sword is a wonderful Wii title that really shows off the aging hardware’s muscle. While I wouldn’t say it’s the best Zelda title ever created, it’s a damn good one and deserves a high recommendation. Check this one out.
-MP
Note: This review is taken from Review Hub Central.
Certain stories just have a way of sticking with you. In the spring, I read a short story by Daphne du Maurier titled, “Don’t Look Now.” It’s a strange and oddly jarring piece about a husband and wife vacationing in Venice. I’m going to keep this review relatively spoiler-free, but keep in mind: the less you know about “Don’t Look Now” before delving in, the better.
“Don’t Look Now” is successful in its ability to intertwine so many seemingly unrelated events into one unsettling nightmare. From the beginning of the story, we know that John and his wife, Laura have lost their young daughter to a case of meningitis. This vacation is taken under doctor’s orders as a means of recovery for the devastated Laura. The tale escalates when, at a restaurant, twin psychics tell Laura that they see her deceased daughter sitting at their table.
Du Maurier’s “Don’t Look Now” is an effective exercise in restraint. The story is driven by coincidence, yet infused with a lingering sense of the supernatural. You never quite know what will happen next, and Du Maurier manages to scatter so many dangling plot points into the story, that it’s nearly impossible to know which will cause the protagonist’s unraveling.
There’s a wonderfully uncanny scene where John is finally leaving Venice to meet his wife, who left three days prior on a plane. However, while crossing the canal on a boat, he sees his wife with the psychic twins on a returning boat opposite the canal. An unmistakable sense of dread emerges in which John questions both his wife’s motivations and his own sanity.
The scene works well because Venice - and all its twisting, spiraling roads - is a character in itself. Seeing his wife on the boat ensures John’s return to Venice, pulling him deeper into the nightmare. This is the scene I think of when I said that some stories have a way of sticking with you.
Without question, “Don’t Look Now” comes highly recommended. It is a wonderful work by a writer at the top of her game (also read du Maurier’s “The Birds” if you have a chance - it’s different from the movie, but highly effective). Believe me, “Don’t Look Now” will linger with you long after the startling conclusion.
-MP
Note: This review is taken from Review Hub Central.
I know this is long overdue, but I usually like to provide seasonal reviews for Breaking Bad. This is a show that’s difficult to evaluate on a weekly basis because so many of the story-arcs progress gradually on a week-to-week basis. With that being said, I think it’s always good to take a step back from the in-depth reviews (which you can check out right here), and take a look at the series as a whole.
So, let’s get right into it: How was Breaking Bad’s fourth season? In short, phenomenal. This was a tricky season because the show continues to do well ratings-wise and critically. The renewals keep coming, yet the show is growing increasingly-complex. Season 4 could have easily run the risk of stagnating because the writers couldn’t change things too much without knowing how long the show would run. In effect, Season 4 is a bit reserved and doesn’t change the scope of the show drastically. These 13 episodes were about one thing: a daunting game of chess between Walt and Gus.
I had a few qualms about the start of Season 4 (for example, check out the review of “Cornered”) revolving around the tense and stressful atmosphere. With almost no slowdown, it felt like an immediate continuation of the excellent Season 3. For better or worse, there was a never-ending sense of tension that didn’t let up until the final moments of “Face Off.” At times, however, things seemed a bit too heavy plot-wise and the showing wasn’t exactly changing. It was just continuing the tried and true.
These plot-heavy story lines may have divided some Breaking Bad fans over the past two seasons. The character drama slowly shifted from domestic problems to full-on drug wars involving Gus and the Cartel. Though I don’t mind the plot-heavy drug culture evident throughout Seasons 3 and 4, I do miss some of those intimate moments seen in the First and Second Seasons. What felt worse: the realization that Walt’s marriage was falling apart because of his choices; or Gus holding a gun to Walt’s head? I’d argue the former, and some of that’s been absent these past two years.
Yet, that’s what makes Season 4 so great. It resolves nearly all of the drug and Cartel problems and works to reset the show a bit. Don’t get me wrong, there’s still tons of stuff that needs answering (is Ted alive or dead?! I think we’re supposed to think dead, but who knows?), and it’ll be interesting to see how that’s addressed next season. And fortunately, Season 5 (the final season) will begin with a breather, and that’s exactly what the show needs. It needs a little time to find its footing before going out with a bang.
So, with that macro-level stuff out of the way, let’s get into some of the highlights. Season 4 was filled with wonderful moments, from Gus’ box cutter, to Jesse’s speech in “Problem Dog,” to the insane fight in “Bug,” to Walt’s “I am the one who knocks!” speech, and to Gus’ mass-murder in “Salud” - these are only naming a few. I have to say, though, the standout of the entire year for me had to be the concluding moments of “Crawl Space.” It was just the perfect cacophony of sounds, as all the horrible pieces came to a head. Well-acted, well-directed, well-written: an all around great moment of television. Check it out on my website.
So, yes, it’s going to be another long wait for Season 5. At this point, Season 5 is scheduled for the Summer of 2012, which really isn’t so bad, considering how long we had to wait for Season 4. And the wait won’t be so painful because we weren’t given a huge cliff-hanger as we were at the end of Season 3.
The writers have a lot to live up to in the final season, but no matter how the show ends, it won’t change how much I’ve enjoyed these first four seasons. Here’s hoping the show stays as honest and effective as it’s been thus far.
If you’ve been following my Breaking Bad reviews, thanks for reading; I really appreciate you taking the time. If you have any thoughts on this season (or on the show’s future) let me know in the comments below. And feel free to check out any of the in-depth reviews right here. I’ll see you Breaking Bad fans in the summer.
-MP
Note: This review was taken from Review Hub Central.
“Pretty Much Dead Already” is a much stronger episode than last week’s Walking Dead and an appropriate conclusion for the extended winter break. This is an episode that reinforces the darker realms of the series and culminates with an explosive - and oddly poignant - resolution.
This episode starts with immediate tension: Glenn tells the group about the barn full of walkers and from there, things escalate quickly. There’s a growing division amongst the group. On one side, Rick tries to be clear-headed and respectful of Hershel’s wishes, while on the other side, Shane wants to kill the walkers in the barn in order to protect the group members.
It’s very much Lost-territory, further reinforced by the notion of firearm empowerment. In other words, who controls the weapons yields the power. Andrea tends to respect Shane (which is to be expected after their encounter last week) but things are further complicated by our knowledge of Shane’s inner motives. Shane is quickly becoming the villain of the show and his likeability decreases week after week. I especially like his confrontations with Dale.
“Pretty Much Dead Already” explodes in the final act, where many of the plot lines come to a head. The escalation is handled nicely, as the exact moment the guns are handed out, Rick and Hershel come into the scene with a walker on a leash. Everything goes to hell when Shane shoots one of the walkers and opens the barn (it was a bit surprising no one tried to stop him).
Hershel watches silently (on his knees, no less) as his infected family members are shot in the head by these outsiders. It was a really dark and well-directed scene. Props to director Michelle MacLaren (a wonderful producer/director for Breaking Bad, by the way) for such strong work.
But let’s get to that last shot: the reveal that Sophia was a walker in the barn all the while. It was a bit cliche that she was the last and only walker to come out by herself, but I couldn’t see the scene working any other way. There were a few, long and tense moments of hesitation where we wondered who would finish the job.
Of course, Rick is the man to shoot Sophia, cementing his place in the new world as everyone watches on in horror. Some bleak and horrific stuff… but effective nonetheless.
With several big plot lines resolved and enough questions as to what should happen next, this was a great place to break. I’m looking forward to The Walking Dead’s return in February 2012.
I’ll see all you Walking Dead fans in the new year.
-MP
Note: This review is taken from Review Hub Central.
I’m still a week behind on my The Walking Dead reviews. I’m going to try my best and correct that tonight. So I apologize for another old review, but I want to at least have a sense of consistency on my site. I’ll step up my game going forward and review episodes earlier so this doesn’t happen in the future.
Regardless, I want to write about “Secrets” because it has some issues. There are fundamental problems entering this series that I hope get addressed in the mid-season finale. Chiefly, this episode feels incredibly padded and there’s not much development on a broad scale. Previously introduced material gets rehashed and there’s a lot of characters just standing around the farm doing nothing.
Lori’s pregnancy continues to be a focal point and this episode does little to cement any closure either way. She opts for an abortion and then changes her mind, finally telling Rick about the pregnancy. The material just isn’t too interesting, and we’ve seen Lori deal with this for weeks now.
Likewise, we’re given no closure on the Sophia story arc (this really needs to be wrapped up in “Pretty Much Dead Already”), and the whole barn-full-of zombies is barely addressed. The only real development in “Secrets” is the relationship between Andrea and Shane, which doesn’t seem to be heading anywhere, either.
“Secrets” marks the first time I worry about the future of The Walking Dead. As much as I raved about the scenery and aesthetics of the Hershel Farm, the story is begging for some kind of change. That doesn’t mean the gang has to leave the farm forever, but something needs to happen to keep the story from stagnating.
Unfortunately, at this point, “Secrets” is one of the weaker episodes of The Walking Dead. Let’s hope that things change in “Pretty Much Dead Already.” I’ll put up a longer, more in-depth review of the mid-season finale later tonight.
-MP
Note: This review is taken from Review Hub Central.
“Wallflower” is a difficult episode to review. It’s certainly a fair episode of Fringe but as the Fall finale, it leaves something to be desired. There’s enough here to present some interesting material that certainly adds to the Season 4 mythology, but is there enough to bring casual fans back in January?
“Wallflower” is about an invisible man dealing with isolation and loneliness. Both topics have been handled on Fringe before, but I must say, this one had a particular emotional resonance that really worked. We find out early that this individual - codenamed Eugene - has been genetically altered. He’s basically a failed government experiment who’s gone AWOL.
As “Wallflower” progresses, we learn that it’s Eugene’s severe loneliness that ultimately leads to his downfall. In a touching conclusion, Eugene dies after finally being acknowledged by another human being. It’s a poignant and effective resolution with an appropriate degree of emotional truth.
”Wallflower” is filled with interesting Olivia revelations. I particularly liked her conversation with Nina Sharp. Olivia is concerned about her indifference to the Fringe events, fearing that the Cortexiphan drug trials somehow altered her emotionally. When Nina reassures her - explaining that childhood events do not determine your future - Olivia wonders why her life feels so empty. It was an interesting scene that hints at the loss of Peter in her life.
Meanwhile, Peter continues to distance himself from this (what he believes to be) third universe. He hopes to return home to the Olivia he loves, and to leave this world behind in the process. It’s here that things get tricky since we still don’t quite know where we are.
When the time comes for Peter to return home, what will happen to this world and these altered characters? I’m trying not to think too much about it and am hoping the writers will take me by surprise with a mind-altering twist. Because right now it feels like they’ve written themselves into a corner, and I can’t see any way out.
”Wallflower” ends with an interesting twist, as Olivia is drugged by Nina Sharp. It’s great to see Nina with a larger role this season and it’s too bad we have to wait until 2012 to see how it plays out. Meanwhile, poor Lincoln is still waiting at the dinner with his new pair of glasses (from Peter, no less).
Here’s hoping that Fringe returns in the new year with some major plot advancements. This first part of Season 4 has been a bit shaky but the show is definitely finding its footing once again. Sadly, “Wallflower” was not intended as the Fall finale, as the show was pushed back due to baseball schedules. If the next episode was supposed to be the actual finale, that only means a stronger start to the January return.
I don’t know if “Wallflower” was enough to hold the casual viewers until January, but it was certainly enough for me. What about you? What did you think?
-MP
Note: This review is taken from Review Hub Central.
I’m playing catch-up right now so this review is not of Sunday’s episode (“Secrets” - that review is forthcoming) but from the previous week. That being said, I’ll keep this review short and start watching “Secrets” instead of spending too much time on “Chupacabra.” Regardless, I still want to post a review because there are moments here worth mentioning.
“Chupacabra” starts with an awesome intro - it was probably my favorite of the series thus far. The episode opens with a pre-apocalyptic flashback - not years or months before the tragedy, but right at the cusp of disaster. The image of Atlanta being set afire with Napalm was creepy and effective.
The Walking Dead tries something new in “Chupacabra,” offering a character-specific episode. This is mostly about Daryl coming to grips with the loss of Meryl and his survivor’s guilt. It’s a tale about letting go and ultimately, finding oneself. The story was well done, and I wonder if The Walking Dead will feature these kinds of stories going forward. If so, I can quickly see The Walking Dead becoming a lot like Lost.
If we learned anything, it’s that Daryl is a survivor, and seeing him take out those two zombies was pretty badass. His getting shot by Andrea was an ironic twist after all he’d been through.
My biggest problem with “Chupacabra” is its unwillingness to move the story forward on the Hershel farm. Yes, tensions grow, but there isn’t much happening outside of the missing Sophia (and God, she’s been missing since the premiere - is there really any hope?). Furthermore, Lori’s pregnancy doesn’t feel as important as it should; likely because we’ve seen these kinds of stories time and again in television and literature.
“Chupacabra” ends with the interesting barn-full-of-zombies reveal. You already know how the turns out, but I’m about to find out in “Secrets.” I hope it’s a good one!
And, see? I told you this would be a short review.
-MP
Note: This review is taken from Review Hub Central.
