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Pyke Bishop (Birmingham, UK)

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Game Over [DVD] [Region 1] [US Import] [NTSC]
Game Over [DVD] [Region 1] [US Import] [NTSC]
Offered by EliteDigital UK
Price: £40.10

1.0 out of 5 stars Extremely poor and unwatchable, 22 Dec. 2014
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Maximum Surge was originally an FMV game being developed by Digital Pictures to be released on the Sega Saturn, 3DO, PC, and Mac platforms. It featured many stars involved in filming the FMV scenes for the game, including: Walter Koenig as Drexel, and Yasmine Bleeth as Jo.

Maximum Surge was almost fully completed, but was ultimately cancelled when Digital Pictures ran out of money and went out of business.

In 2003 a company named Insight Film and Video Production used footage, along with four other FMV games from Digital Pictures in a movie titled Maximum Surge the Movie. The movie was later released in the US on DVD under the title Game Over.

The plot of the movie involves a super computer being integrated into a video games network. The programmer who designed the games (Woody Jeffreys) must then go into the virtual world and defeat the games or else there will be a world-wide crash of information.

The other games in which footage was used were:
Corpse Killer, Prize Fighter, Supreme Warrior and Quarterback Attack.

What we get as a result of this unholy amalgamation is something extremely poor and unwatchable!

In-game acting for all five titles are as you'd expect, bad. Which seemed to be a common aspect for these type of games - as no real acting skill was required for FMV titles. In fact, a third of the movie contains scenes from the aforementioned (discarded) FMV games. The newly shot scenes for the movie seemed even worse (almost laughable). And no real thought had gone into editing the movie in a cohesive way, if that is even possible!

Given a choice, I would not award this movie even a one star. It would give the impression that underneath all that torn patchwork and poor craftsmanship, lie the foundations for a low budget sci-fi action flick, unfortunately those aspects are just not there.

Electra Glide In Blue [DVD]
Electra Glide In Blue [DVD]
Dvd ~ Robert Blake

3.0 out of 5 stars It's far from perfect, but it's often moving (and frequently gorgeous), 16 Nov. 2014
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This review is from: Electra Glide In Blue [DVD] (DVD)
Electra Glide in Blue is a murder mystery, in which a high-principled Arizona motorcycle cop discovers the death of an old recluse and, against all odds, finds out who killed the man and why.

An old man turns up dead in his desert shack. It looks like a shotgun suicide, but Wintergreen suspects otherwise: why would a man shoot himself in the chest and not the head? This mystery isn't really the driving force of Electra Glide in Blue; this is more of a leisurely character study following Wintergreen as he works his arse-off to get promoted to homicide. This case could do it for him, but increasingly he sees little point in rising in the ranks of the hopelessly corrupt. A detective (Mitchell Ryan) who hires Wintergreen as his driver is violent and unstable. Wintergreen's cop buddy Zipper (Billy "Green" Bush) likes to push hippies around and plant weed on them so he can bust them. The movie may take a cop as its hero, which cost it dearly at the box office back in 1973, but its view of the police in general is quite skeptical.

The weight of the film rests on Robert Blake, as John Wintergreen. He's just a guy trying to do good, and Blake is low-key and likable. Wintergreen flirts with young women who tower over him; he does a fellow Vietnam vet a favor by not cutting him any slack; he dances around in a Stetson, a cream-colored jacket, and no pants. He's supposed to be pushing forty, but a lot of the time he comes off like a little kid, or at least like an innocent. He doesn't seem to have a violent bone in his body. He's almost apologetic when handing out speeding tickets, and when he and the corrupt detective visit a commune in search of a person-of-interest, Wintergreen so desperately fails to exude any authority that the detective has to step in and kick some ass around.

Blake provides the still center, with a lot of overacting going on around him (Elisha Cook who must project senility as the murder victim's only friend; Jeannine Riley as a bar waitress who gives a big speech about her dashed Hollywood dreams). It's far from perfect, but it's often moving (and frequently gorgeous).

Motorpsycho / Good Morning And Goodbye [DVD]
Motorpsycho / Good Morning And Goodbye [DVD]
Dvd ~ Haji
Offered by UclickWeDeliver
Price: £9.70

1.0 out of 5 stars Lesser offerings from the late Russ Meyer, 31 Oct. 2014
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High priest of "breastploitation" Russ Meyer entered the biker film craze of the mid-1960s with this hyperactive tale of rape and murder in the California desert. Alex Rocco is Cory Maddox, a veterinarian whose wife is defiled by a rampaging trio of moped-riding miscreants led by Brahman (Stephen Oliver), a crazed Vietnam vet. When the local sheriff (played by Meyer himself under the name "E.E. Meyer") claims that his wife invited her attack, Cory plots revenge on the hoodlums. Trailing them into the desert, he finds Ruby (Haji), a Cajun woman whose husband has just been killed by the gang. As the two gain on the homicidal trio, the gang begins to break apart, leaving Cory and Ruby to face-off against the violent, gun-toting Brahman.

The lurid MOTORPSYCHO, despite having no true nudity or profanity, is filled with innuendo and sexuality. Despite stiff performances and lousy dialogue that would be painfully corny to any generation, the film is also the blueprint for Meyer's FASTER, PUSSYCAT! KILL! KILL!, which would be his next film.

A male pendant of Faster, Pussycat! Kill! Kill! This is competent, inventive basement-budget filmmaking for the drive-in crowds.

Good Morning...and Goodbye!

An insatiable young wife indiscriminately seeks sexual satisfaction to compensate for her aged husband's impotence in this exploitation piece from Russ Meyer.

"Good Morning...and Goodbye!" just isn't fun like most Russ Meyer films. The women are such relentless shrews that one can hardly bear their company. The plot is extremely weak, and really is about nothing beyond who's screwing who.

The movie does have the overlong, narrated introduction and of course, every other line is a leering double-entendre. "You read the profit-and-loss statement like a vulture and you play the stock market like a fox," snarls Alaina Capri to the impotent down-trodden male lead Stuart Lancaster. "But you store your nuts away like a squirrel."

The Proud Rebel [DVD]
The Proud Rebel [DVD]
Dvd ~ Alan Ladd
Price: £5.99

1 of 2 people found the following review helpful
2.0 out of 5 stars Post-Civil War yarn, 16 Sept. 2014
This review is from: The Proud Rebel [DVD] (DVD)
Potentially mawkish movie material such as the love of a boy for his dog and a father's steadfast dedication to his incapacitated son.

Samuel Goldwyn Jr.'s production of "The Proud Rebel," which is not without gunplay, is more concerned with exposing character than mayhem.

A Southern widower (Alan Ladd), hounded by memories of the Civil War, journeys to an Illinois township in search of a doctor who will cure his mute son. This affliction, it turns out, is a "hysteria paralysis" brought about when the youngster witnessed the killing of his mother and the burning of his home.

Alan Ladd, who is not noted for explosive portrayals, is restrained but expressive as the father, whose anxiety and devotion prove more powerful than pride.

Although he has but one or two lines of dialogue, Alan Ladd's 11-year-old son, David Ladd, contributes an astonishingly professional and sympathetic stint as his son. The youngster, who is making his film debut, appears annoying at times but also projects movingly and with surprising naturalness and fidelity the helplessness of the mute.

Olivia de Havilland, as the farm owner whose attachment to this pair ripens into love, gives a mawkish portrayal of hardy womanhood. Although she is not a couturier's dream, the affection and sturdiness needed in the role come across to an observer with telling effect. Dean Jagger, as the dastardly, scheming sheep raiser, is, on a few occasions, too black-hearted, as are Dean Stanton and Thomas Pittman, as his cowardly sons.

Although it is reminiscent of "Shane," (although a far lesser film to its predecessor), "The Proud Rebel" appears to be able to stand on its own merits. A simple tale that is not without simple faults, it, nevertheless, is a truly sensitive effort that never reaches for too much gunplay.

Filmed in Utah, it is a fitting background for the supposed heart-warming drama of "The Proud Rebel."

Wyatt Earp [DVD] [1994]
Wyatt Earp [DVD] [1994]
Dvd ~ Kevin Costner
Price: £3.81

3 of 5 people found the following review helpful
3.0 out of 5 stars An ambitious movie, but it is not very compelling., 13 Sept. 2014
This review is from: Wyatt Earp [DVD] [1994] (DVD)
The movie follows Earp's progress through the West, his employment as a stagecoach driver and a Wells Fargo man, and his stints as a lawman in Dodge City and Tombstone. Curiously, because the script places such emphasis on family, his brothers do not emerge very vividly. Even the strong actor Michael Madsen, as Virgil Earp, has so little dialogue and screen time that he doesn't emerge as truly individual. And the brothers James and Morgan are even less visible; the wives or mistresses of the three Earp brothers make more of an impression, if only because they spend so much time arguing with Wyatt's notions of family honour and duty.

It's obvious that the movie's intentions are serious. It doesn't want to be just one more retelling of the gunfight at the OK Corral. The subject is the whole life span of Wyatt Earp.

As a young man, Earp is Bashful but single-minded, he turns down the offers of fast women in saloons because he intends to marry a girl back home (Annabeth Gish).

Then she dies tragically, and he seems to vow never to trust his emotions with any non-family member again.

The character who is always in the foreground of the Earp saga is Doc Holliday, the dentist and gambler who casts his lot with the Earps. Dying of tuberculosis, he has nothing to lose in lending his gun to their battles. Dennis Quaid plays the character in a stunning masquerade; having lost weight and grown a moustache for the role, he is scarcely recognisable.

If the characters in "Wyatt Earp" remain vague despite all of their screen time, the story-telling also needs tightening.

One sequence late in the film is confusing: The Earps are returning on a train with the body of a dead brother, and are alerted that they may be ambushed. As the train pauses at a station late at night, there is a complex gunfight in the shadows, as characters dart around the cars and fire at one another. The whole scene is handled so confusingly that it's hard to get an idea of the strategy, the progress, or the outcome.

There is also a lot of screen time devoted to Earp's romantic life. After the death of the first wife, he has a long-time relationship with a prostitute (Mare Winningham), whose best qualification is that she makes few demands.

But she starts making a lot of them after Wyatt falls for the beautiful Josie (Joanna Going), an independent woman from San Francisco.

Costner's character isn't written clearly enough for us to understand his confusion about his liaisons; if they are only sexual, then why does he masochistically allow them to continue?

"Wyatt Earp" is certainly an ambitious movie and has brave pretensions and a large canvas, but it is not very compelling.
Comment Comment (1) | Permalink | Most recent comment: Dec 5, 2014 2:02 PM GMT

Road Rage [DVD] [Region 1] [US Import] [NTSC]
Road Rage [DVD] [Region 1] [US Import] [NTSC]
Offered by M and N Media US
Price: £121.49

2.0 out of 5 stars Certainly not a flawless movie by any means, 9 Sept. 2014
Ellen Carson (Yasmine Bleeth) is a real-estate agent with a beef cake husband, Jim (John Wesley Shipp), and a sulky stepdaughter, Cynthia (Alana Austin). While chatting on her cell phone and trying to make a highway exit on a rainy day, she inadvertently cuts-off Eddie Madden (Jere Burns), a beverage deliveryman whose wife and daughter were killed six months ago by a reckless driver. Miffed and still in shock, he chases Ellen until she gets the point: She ticked off the wrong guy.

Though strapped with an unlikely scenario and some pretty big coincidences, "Road Rage" is a somewhat effective thriller that doesn’t stray too much beyond its limitations. The narrative builds, and tension runs high.

Viewers actually get two-for-one here, since "Road Rage" focuses on both the moment at which motorists flip out and the methods one will apply to get even.

Certainly not a flawless movie by any means, here we have a flustered female: Bleeth is sympathetic while trying her best to play victim. She’s matched by Burns, whose cold eyes, jutting chin and sleazy goatee make for a creepy and convincing maniac.

Technical credits are strong, though the abundance of zoom-ins and ringing telephones can get annoying.

Prey (PC DVD)
Prey (PC DVD)

4.0 out of 5 stars Nice visuals, but action is overly straightforward, 26 Aug. 2014
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This review is from: Prey (PC DVD) (Video Game)
Prey opens with the main character yelling at himself in a bathroom mirror. Tommy, a Cherokee Indian, doesn't really care about his heritage and wants to take his girlfriend, Jen, and leave the reservation. But before he can muster up the courage to convince her to leave, an alien invasion sucks Tommy, his grandfather, and Jen up into some sort of spacecraft. With the help of some unknown benefactors, Tommy manages to get free and you set out on your quest to rescue your girlfriend and, of course, save Earth in the process.

The two things that seem meant to separate Prey from other FPS's are the game's liberal use of portals that bring you from place to place and a bag of gravity tricks that are meant to keep you wondering which way is up. The portals are open and let you see and fire weapons through to the other side. They lend themselves to a couple of neat tricks, including one where you see yourself entering a portal on the other side of the portal. Just try to resist the urge to shoot yourself in the back of the head. The portals are a neat idea, and their potential is revealed early on when you walk through one that shrinks you down and puts you inside a small glass case with a sphere inside. But for the rest of the game, the portals might as well be doors, because the linear level design rarely leaves you wondering if the portal that just appeared in front of you is indeed the right way to go.

Playing around with gravity is a much more interesting part of Prey. You'll encounter powered walkways that let you walk up walls and onto ceilings. Also, some portals will drop you into a room you've already been in, but you'll be walking on what you previously thought was a wall. And in a few other cases, you'll be able to shoot objects to change gravity, which forces your view to rotate as you fall to another surface. These segments of the game serve as the majority of its puzzles, but they aren't too difficult to figure out.

The straightforward level design means that you'll spend the bulk of your time in combat. The game throws enemies at you pretty consistently, though their numbers are never overwhelming. And since the crazy aliens invented this portal business in the first place, they can teleport in rather than run around trying to find you. However, unlike the imps in Doom 3, Prey's hunters don't consistently teleport in behind you and attempt to catch you off guard. That said, the game's artificial intelligence isn't particularly advanced. The hunters, armed with the same machine gun/sniper rifle combo that serves as your first real weapon, will occasionally take cover or toss a grenade in your direction if you're not in their line of sight, and they'll pick you off at a distance if you stand still in the open. But the rest of the enemies, a somewhat small menagerie of alien beasts and the occasional flying robot, stay out in the open and either rush right at you for a melee attack or attempt to circle around you and fire weapons, if they're armed.

You are, of course, always armed. While you've got a pipe wrench at your disposal for melee attacks, it's useful only for the first couple of minutes. Then you take out your first hunter and get a rifle that fires like a machine gun but also has a scope that can be used for a more powerful sniper shot. All of the weapons are of alien origin, so many of them look kind of goofy and keep up the organic-merged-with-metal motif that the rest of the game is going for. For example, rather than having hand grenades, you pick up tiny crawling creatures that explode when you rip off one of their legs and toss them at an enemy. If you flip them over with the alternate fire button, you can plant them as mines or use them as Halo-like sticky grenades. You'll also get a rapid-fire nailgun-like weapon that works as a grenade launcher, an acid gun, and a rocket launcher that also fires a misty cloud that blocks weapon fire. While there are multiple weapons of varying power in the game, their alien look doesn't fit with their mostly conventional usage. On top of that, most of the game's enemies aren't tough enough to warrant that type of firepower. You could very easily cruise through the majority of the game using only the default rifle, since it has a recharging ammo supply.

Because Tommy's a mystical Cherokee warrior, he eventually gains another ability, even if he doesn't believe in mysticism. Early on in the game, you, as Tommy, gain the ability to leave your body and "spirit walk." In spirit form, you're armed with a bow that can be used to kill many enemies in one shot, but the real benefit of spirit walking is puzzle-oriented. To put it simply, you can walk through force fields when in spirit form. So anytime you see a force field, just punch the spirit walk button and walk on through. You can collect ammo and interact with switches and touch screens while in spirit form, so you'll usually use this form to turn off force fields, electric eyes, and other objects that get in your way. Some paths and walkways appear (and function) only when you're in spirit walk mode, so there will be some gaps that you can cross when you're outside of your body. Much like the game's other unique mechanics.

Gaining the spirit walk power has one other benefit: When you die, you'll be sent directly to the spirit realm instead of to a game-over screen. This is essentially a basic mini-game where you must fire the spirit bow at red and blue wraiths to recharge your health and spirit energy, respectively. After doing that for 15 to 20 seconds, you're sent back into the world of the living, right where you left off. This makes death trivial and removes any remaining difficulty you might encounter.

A harder difficulty setting unlocks after you complete the main single-player game. It's sort of a shame that this isn't available right from the start, since it makes the combat a little more challenging.

One of the selling points of Doom 3 and, later, Quake 4 was the strength of their visuals. The Doom 3 engine is also being used to power Prey, and the game maintains that standard of quality. The engine is capable of some interesting feats, but these feats are used only in limited circumstances. There are a few spots where you'll be in very large, open areas that give you an interesting sense of scale, but the majority of the game is a corridor crawl. There are a couple of cases where you'll see objects and even entire rooms being built right before your eyes, which looks cool, but you can count the number of times it happens on one hand. So while the majority of the effects are pretty understated, the game does get by on decent artistic design. Sure, it's mining the same organic-creatures-fused-with-machines territory that's been drawn from time and time again, but the environments are visually pleasing.

The weapons sound appropriate but lack punch. The game's soundtrack is also fine, though it rarely stands out. Strangely enough, the game's designers went out and licensed a whole bunch of real-world music for the jukebox in the bar that opens the game. You can click around and listen to great songs like "Barracuda" from Heart or Judas Priest's "You've Got Another Thing Comin'," but aside from a chance encounter later in the single-player and in some of the multiplayer, you never encounter these songs again. It seems like a waste. The game has plenty of voice work in it, and most of it is just fine. After you gain the ability to spirit walk, you can also understand the alien hunters, as they essentially start to speak English.

Prey's 10- to 12-hour single-player campaign won't take too long, and it's rarely difficult. Fans of the genre have probably played games better than Prey in the past, but the action and the environments you move through are interesting enough to make playing through the game worthwhile.

Q And A [DVD] [1991]
Q And A [DVD] [1991]
Dvd ~ Nick Nolte
Price: £5.99

2 of 2 people found the following review helpful
3.0 out of 5 stars An interesting crime thriller, 10 Aug. 2014
This review is from: Q And A [DVD] [1991] (DVD)
Sidney Lumet's "Q & A" is an interesting crime thriller. When a legendary street cop named Brennan (Nick Nolte) shoots a Puerto Rican in a slum doorway, they call in a young Assistant D.A. (Timothy Hutton) to head the investigation.

Hutton begins to suspect that Brennan may have committed murder. His investigation leads him into the lives of people in many different ethnic groups, and he is shocked one day when a Hispanic drug dealer (Armand Assante) walks in with a woman (Jenny Lumet) who Hutton once dated, and still loves.

This is a movie with a large cast, and one of the ways Lumet deals with that is to use experienced actors who exude the traits of their characters. There's Charles Dutton, as a hard-boiled black detective who explains that his real colour is blue - "and when I was in the Army, it was olive drab." There's Luis Guzman as his partner, a Puerto Rican detective who knows and accepts the realities of the streets but has his limits. There's Lee Richardson as an old Jewish lawyer who has high standards and gives wise counsel to Hutton.

Everyone in this movie uses racial and ethnic slang/slurs constantly, and yet, at another level, it is just what it sounds like, a kind of macho name-calling? At some level it's accepted. In Lumet's New York City, the streets are seen as dangerously near to spinning out of control. To the Irish-American chief of the homicide bureau (Patrick O'Neal), that means it is time to close ranks. It's a war out there, he believes, between the cops and the people who would destroy the city (by which he instinctively means Blacks and Hispanics).

Lumet has made other movies about tough big city types (Dog Day Afternoon, Network), but this is the one where he taps into the vibrating awareness of race which is always there, when strangers of different races encounter each other in situations where one has authority and another doesn't.

The Face [DVD]
The Face [DVD]
Price: £2.17

3.0 out of 5 stars The Face (aka A face to die for), 3 Jun. 2014
Verified Purchase(What is this?)
This review is from: The Face [DVD] (DVD)
Yasmine Bleeth is cast in this made-for-TV melodrama as Emily Gilmore, a meek, mild woman with a badly scarred face.

Receiving no help or support from her alcoholic mother (Mary Ellen Trainor) and bitter sister (Chandra West), the easily led Emily falls in love with a con-artist (James Wilder) who uses her, and before long she is sent to prison for a robbery she didn't commit.

Upon her release from prison, Emily is able to obtain plastic surgery, emerging as stunningly beautiful - and totally unrecognisable. No-longer shy and retiring Emily assumes a new identity - the first step in a chilling scheme of revenge, aimed at settling the score with the man who framed her.

Yasmine Bleeth is the only cast member of 'Baywatch' who might be said to possess acting ability, a fact that is confirmed in The Face. Too bad the script of this typical melodrama lets her down. What's really strange about Duane Poole's screenplay is that Emily's boyfriend and sister don't recognise her post-op face.

Without giving too much away, I felt the ending was a little anti-climactic and oversimplified - the whole thing ends in a sloppy brawl between Emily, her sister and the ex-boyfriend.

Metro Last Light (PC DVD)
Metro Last Light (PC DVD)
Offered by PNA247
Price: £9.00

9 of 10 people found the following review helpful
5.0 out of 5 stars An exceptionally well-crafted first-person adventure, 24 Nov. 2013
Metro Last Light returns you to a Moscow devastated by nuclear war. Humanity, hoping to avoid the dangerous radiation and hideous mutants plaguing the surface, has banded together in the underground metro system. Depending on how you played, Metro 2033 might have allowed you to make an important choice at the game's conclusion. Last Light assumes you chose to destroy the creatures known as The Dark Ones, scorching their home with missiles and scouring them from the face of the Earth. But a creature remains, and as returning protagonist Artyom, you must find this remnant of a race thought extinct, this remnant of a decimated species, though it's unclear whether the right decision is to destroy it or to try to communicate with it.

In the confines of the metro, betrayal is common and trust is a commodity. Here, your greatest enemies are your fellow humans, who are unafraid to cheat and steal if it means gaining favour from the right people. On the brutal surface, the beasts are your primary concern; at any moment, a wailing winged demon might snatch you with its talons, soar into the air, and drop you into the murky water, far from where your horrific flight began.

Exquisite craftsmanship is also on display as you seek the remaining known Dark One on the irradiated surface, and as you avoid the wandering eye of your enemies in the depths beneath. Last Light is not a power shooter. You are not out to murder hundreds of nameless grunts without breaking a sweat, and in fact, the early hours are remarkably light on action. Instead, tension is carefully built in the conversations you have with your comrades, and in the cautious steps you take into the irradiated ruins above the tunnels. You feel the danger. Gnarled trees are twisted into vaguely humanoid shapes, and when you seek refuge from the rain, you hear the drops hammering on the flimsy tin roof above, mimicking the sounds of skittering claws.

The characters in the metro react to each other in authentic ways. They move about with purpose, speaking at length to each other about war and family, about love and lust. Men gone stir crazy seek the company of prostitutes, and so might you, should you desire a lengthy lap dance. Nudity occurs multiple times, and though it's certainly explicit, it doesn't seem superfluous or exploitative. Rather, Last Light's erotic themes emerge naturally from the despair, and sex in the underground has an air of desperation and urgency. If you prefer tamer pleasures, you may take in a lengthy and detailed variety show instead.

You aren't required to go toe-to-toe with human opposition. You can use darkness to your advantage, twisting light bulbs and flipping circuit breakers to keep yourself hidden, and then sneaking through bases to avoid combat altogether. You can be silently murderous, sidling up behind a guard and slicing his throat, and then quietly flinging a knife into another's back. Human enemies go about their actions in realistic ways; they follow patterns, of course, but they aren't always so regimented as to seem unnatural. As a result, the stealth is fun and tense, though you can always shoot your way out of a bind if you need to.

A number of creatures menace your journey across the surface. Amphibious freaks move from water to land, threatening you two or three at a time. As you manoeuvre away from their clammy assaults, you must be ever mindful of the squalid pools that surround you, lest you fall in and get dragged to your death by a mutant lurking beneath. Fierce predators pounce towards you, keeping you on the move. You use a number of weapons to fend them off, all of which look and sound appropriately powerful.

Ammo isn't plentiful in the wastes, though you can get your fill from vendors in the metro's safe havens. Yet the military-grade ammo used as currency is scarce, and you're often faced with a choice to grab more ammo, purchase more grenades, or upgrade that meaty revolver you favour. It's best to scavenge for supplies and ammo in every nook-and-cranny.

You must don a gas mask to stay alive, but masks require filters, which have limited life spans. You discover more filters by exploring, but exploration takes time, which means watching your available supply of healthy air slowly diminish. If you don't value each minute, the pace of your mission could suddenly change from slowly methodical to terrifyingly urgent, as you sprint towards your destination, gasping with increased desperation and hoping against hope that you might cling to life.

The surface brings a tenuous visual warmth, even though the sunlight is diffused through dreary grey clouds. Metro Last Light, while beautiful, is not beautifully optimised. But even if you're forced to lower the resolution and turn off advanced physics, this ruined world is too grotesquely gorgeous not to appreciate.

The air is healthier in the metro, but the dangers are no less real. You still confront misshapen mutants in the tunnels, but the darkness plays an important role. One type of creature recoils from the beam of your flashlight, eventually flipping onto its back and making itself vulnerable to your bullets. Battling several at once results in a rhythmic dance as you use your flashlight to keep your distance between you and the mutants' pincers, firing only when you do the most damage. You often find such critters in the blackest of passages - passages you aren't forced to investigate. Yet the lure of such places can be irresistible. The glow of mushrooms and the possibility of valuable ammo beckon you inwards, as does the chance of rescuing an innocent captive held hostage by the enemy factions that also lurk in the tunnels.

The games astounding atmosphere fills you with dread, the tale it tells is a surprisingly touching story about loss and hope. And exploring the surface is both frightening and exciting - as the games pacing allows tension to build before the action heats-up.

Metro Last Light is not an endless barrage of bullets and beasts. Last Light is notably superior to it's predecessor, merging storytelling, shooting, and sneaking into a remarkable and cohesive whole.
Comment Comment (1) | Permalink | Most recent comment: Aug 28, 2014 11:52 AM BST

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