News & Reviews:

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.

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.