Category Archives: This Is Entertainment

The Hobbit: The Battle of the Five Armies | Review | Film

The Hobbit: The Battle of the Five ArmiesIt all comes down to this. With the Tolkien estate calling time on further films (for now), The Battle of the Five Armies, or BOFA as it shall henceforth be known, is our final visit to Middle Earth.

The Hobbit: The Battle of the Five ArmiesWith such expectations, you would be forgiven for hoping for an exciting climax which raises the bar for the series, or at least makes it shuffle in its seat a little. Instead, even the promised spectacle of seeing five armies battle it out leaves us wanting more (plus, I’m concerned that I only count four…)

Matching the standards set by The Lord of the Rings in the first place is already a colossal task of course, Return of the King alone took home 11 Oscars and sits at #9 on the IMDb top 250 films of all time. But they wanted to go back to Middle Earth, and so did we, and so off we went on Bilbo’s quest.

Looking back at the first installment, there was much promise. There was a memorable song (and, admittedly, an annoying song), good actors and after a while away from Tolkien’s fantasy-verse, we were keen to dive back in. Unfortunately the sad fact is that the story doesn’t suit film as well as LOTR did.

The fellowship’s quest can be explained in a sentence – take the ring of power to Morder to destroy it and save Middle Earth. In The Hobbit though, it gets complicated, who is the main character? Who is the main villain? Why on Earth have they made Billy Connolly into a dwarf using entirely CGI?

The song doesn’t remain the same

Can you count five armies? By our count there's four.
Can you count five armies? By our count there’s four.

Thankfully in BOFA the story is simplified quickly. Smaug, though fantastic, is quickly pushed aside, as is the largely unnecessary Sauron sub-plot, a story in itself so dripping with foreboding that even those unfamiliar with LOTR at all will cry fowl immediately.

Once things get going it’s enjoyable, the dwarves have their home back at last, but what of Bard and the people of Laketown? Thanks to some stubbornness from Thorin a conflict springs up where there needn’t be one, but magic is the cause and so he is powerless to prevent it. This is a shame as Thorin was always the most fleshed-out of the dwarves and for much of the film ends up coming off as a stubborn teenager.

The fellowship of the Hobbit

How many can you name from memory, be honest...
How many can you name from memory, be honest…

The fact that even now the names of the fifteen dwarves, let alone their personalities, are too hard to remember is something no other film could get away with – at least seven of those dwarves would be on the cutting room floor. The few we do recall though, do their job well, and credit to those actors for standing out from the crowd.

While sweeping landscape shots of New Zealand never get old, the scale of the film isn’t quite as impressive as Return of the King and the use of slow-motion in particular can very jarring, on more than one occasion it grabs the audience out of the action completely, whereas in ROTK it is seamless.

A half-a-man show

Martin Freeman undoubtedly makes an excellent Bilbo Baggins
Martin Freeman undoubtedly makes an excellent Bilbo Baggins

But what of the Hobbit himself? Martin Freeman has always been the perfect casting for this role, but, like most of the film, he is a passenger in this story. He is likeable and fun, but this installment of the story probably has the least comic relief (particularly if you exclude the oddly thrown in escapades of Ryan Gage’s Alfrid), and as a result you are left longing for the lighter, more fun moments of the earlier installments.

When coming to a verdict on part three, you can’t help but reflect on the franchise as a whole, and in that The Hobbit comes off well. The emotional payoff of seeing a story come to a close and the bookended story leading in to LOTR is immensely satisfying. Whether you think that splitting the story into three films was a good idea or not, each of them has something to offer which is worth watching and if you have sunk almost six hours into this story, you are going to want to see the end, and it’s a good end.

Rating: 3/5

The Boxtrolls | Review | Film

The BoxtrollsThe Boxtrolls posterBased on a book by Alan Snow, The Boxtrolls is the latest release from the makers of Coraline and ParaNorman, both excellent films with unique animation and more than enough of a dark side to be totally acceptable adult viewing at the same time. Boxtrolls is similar in this respect, but is it a worthy follower?

The film opens in the Victorian city of Cheesebridge, where we are introduced to the film’s antagonists, Lord Portely-Rind and Archibald Snatcher (Jared Harris and Ben Kingsley) discussing how to remove the city of the Boxtroll problem, Snatcher agrees as long as upon completion he earns a white hat like that of Rind’s (the ultimate sign of status in this society).

Soon we meet the elusive Boxtrolls and the rather un-troll like baby Eggs, the star of this tale. The trolls are harmless humanoid creatures in cardboard boxes rooting through people’s rubbish trying to find items of interest, their scavenging is interrupted however when Snatcher and his cronies burst in and capture them, with just Fish and Shoe escaping (the trolls are so named after what their box once stored).

The film uses the same stop motion style of animation as its forebears, though they have possibly peaked here – everything looks so good, the movement is fluid and everything manages to feel alive. The character models are incredibly detailed, and they all managed to have their own expressions and personality. The Boxtrolls for example, may not speak English, but they are identifiable by their box, and how each one behaves.

Character models are very exaggerated and somewhat grotesque, though this allows them to be quite unique and expressive, Egg for example can speak English (inexplicably, given none of the trolls speak it) but shows a lot of his emotion through gestures and expressions, there is a particularly amusing scene where he gets shown how to politely introduce himself, but takes the advice too literally (“Nice to meet you, even if I don’t really mean it”).

The characters themselves are generally decently done, Eggs (Isaak Hempstead Wright) is a fairly typical star, being honest and wanting the best for his friends, he’s also joined by Winnie (Elle Fanning) an stuck up rich girl, who is ignored by her parents and yearns for more. At first she’s fairly cold and haughty but soon warms to Eggs and his troll friends). Her father, Lord Portely-Rind, is very cold to her – almost to the point of being dismissive.

The BoxtrollsSomething I took from this film is that, despite the cute posters and toy/merch lines available, I’m not sure this is actually a children’s film. It is quite dark in places, and the grotesque imagery (the aforementioned cheese bit is somewhat uncomfortable to watch) and dark atmosphere will doubtless prove quite scary for some children, as well as a few scenes that seem completely hopeless for our Eggs and his friends. There is little in bright colours and the locations are mostly dark and gloomy. Despite all this, there is humour, though – slapstick is frequent in scenes involving Boxtrolls and there is some witty dialogue between our two young heroes.

The film reaches a conclusion a little too quickly perhaps, with Snatcher revealing a rather unlikely method for seizing his white hat after Eggs manages to thwart his deal with Portely-Rind. It had been hinted at but seems somewhat far fetched. His actual downfall comes shortly after, and is suitably gross. The film ends happily, and it is worth sticking around for the credits as they are very well done, along with a short forth wall breaking bonus scene.

An enjoyable film, it’s something that kids will enjoy for the slapstick and cute Boxtrolls while adults can have no shame in watching for its great animation and refusal to compromise the dark aspects of the story.

Rating 4/5

Jordan Thomas

Gone Girl | Review | Film

Gone GirlGone GirlThey always say marriage is about compromise, but when your other half tries to kill you, it’s often hard to find the middle ground. From the first moments of Gone Girl, you can tell this film is something a bit different to what expected. You find yourself saying: “Did he really say that? That can’t be what he meant, can it?”

Ben Affleck stars as Nick Dunne, a man having a really bad time when his wife is taken…sorry, gone…one morning when he returns from his bar (imaginatively known as ‘The Bar). What has actually happened is a mystery, which unravels unexpectedly throughout the film. To say that the film contains a twist might be considered a twist for most films, but in this case, there are so many twists and turns you’ll be amazed that you haven’t ended got a headache.

…Because I’m Bat-fleck

Gone Girl
The grin on Neil Dunne’s (Ben Affleck) turns out to be bad for the cameras

Affleck brings the feeling in this film, in a role which shows a lot of emotional depth – admittedly already evidenced by his excellent work in films such as Argo – which gives a lot of hope for his turn as The Caped Crusader in Batman vs Superman next year. Watching the story unfold in front of you through Affleck’s eyes just forces you to route for him, even if his character might not be as straightforward as your first impression might have thought.

Female lead Rosamund Pike as wife Amy is just as complex a portrayal as Mr Affleck, although some male viewers might find it hard to relate to her just because of how strongly her gender runs through her character – you don’t feel as though if the genders of the two leads were reversed that the film would have unfolded in the same way.

Deface-book

Rosamund Pike is Amy Dunne...but is she still alive?
Rosamund Pike is Amy Dunne…but is she still alive?

If director David Fincher had a word in mind when he was directing this film, it must have been ‘tension’. The film is dripping with it, so much so that you may not have any fingers left by the time the credits roll. Like The Social Network before it, Fincher’s understanding of the subtleties of close personal relationships shine through here, causing no surprise at all when the characters interact naturally together.

Part of the credit for that must go to screenwriter and author of the original book Gillian Flynn, who’s tale ups the ante at every stage as we delver deeper into its characters with each revelation. Even Desi Collings, the most misunderstood character of the piece, who Neil Patrick Harris gives you no choice but to feel sorry for, is written sharply enough to draw blood, despite a relatively short span on screen.

Bite the hand that feeds

A picture can make the past look perfect
A picture can make the past look perfect

As usual, Fincher’s musical meastros Trent Reznor and Atticus Ross bring the rich soundtrack which set the stage, and highten the uneasiness of the characters on multiple occasions. The visuals by comparison are generally low-key, with straightforward production and set design keeping the film grounded despite the fluctuations of its plot, though occasionally there is effects work which makes you stop dead and then squirm in your seat.

There’s a strong feeling of balance with this film. Let things slip too far into the surreal and you could lose your audience, but the way it is knotted together by Fincher (often with stubborn, ugly knots which can’t be unravelled) makes it strangely compelling viewing. More than once there is a moment where you feel like the story could finish, but then the film steps up a gear to push the audience even closer to the edge.

There might not be a right time or a right place to take in the story without drawing comparisons to your own life, but in truth this just emphasises what a strong example of the medium the film is. Not one for the faint-hearted, but undeniably a quality experience.

Rating: 5/5

James Michael Parry

Maroon 5 and The Script – V and No Sound Without Silence | Double album review | Music

The Script and Maroon 5 double album reviewIt’s not every day new albums come out which you actually care about. Unfortunately there just aren’t enough hours in the day for me to ramble about them all (far less than usual actually, sorry about that lone fan), and so slamming two together in what could be described as, but isn’t really, a head-to-head seemed like a fun option.

The reason Maroon 5 and The Script together sit together nicely is because they are bands in similar areas of the industry (though the Maroon 5 boys have a few more years and albums under their belt), but they are different enough to listen to back to back.

Maroon 5 – V

Maroon 5 - VWith their fifth album – however did you guess… – the boys have taken the dancier sound from Overexposed and refined it, bringing a bit more instrumentation back in as well as using more of their layered vocals from Adam Levine which made Songs About Jane stand out.

Opener and lead single Maps is a perfect blend of the band’s catchy melodies and memorable guitar style. There aren’t many bands who can get away with repetition, even in a clearly pop-focused single, but Maroon 5 are excellent at taking a simple idea and elaborating on it through a song, driving it forward.

Animals continues the theme in style, before It Was Always You mellows things out a little, dialling up the dance beats a notch.

Levine’s vocals contain some of the highest notes we’ve heard and his various grunts and oohs build to screeches as the music swells, but in a way which refuses to step over the line into a piercing noise, similar to how Michael Jackson got away with it on many tracks.

Maroon 5 - VWith a mixture of ballads with a beat and catchy numbers, the rest of the album plays out much as you might expect, with the odd 80s nod in the synth drums. It’s a collection of songs that hangs together well without any sticking out too far, but it may prove too middle-of-the-road for some as a result.

No doubt there are top ten hits here waiting to be unleashed (so many in fact, that you could easily make a sweepstake out of it), but it’s only a small step from Overexposed compared to where the band began the consistency has improved but undoubtedly the edginess that made them most endearing when they crashed onto the scene has dulled slightly.

That said there’s an awful lot to enjoy on this album, particularly for crowd singalong moments, and where Overexposed dragged its heels in the middle and became uninspiring, V never does.

The Script – No Sound Without Silence

The Script - No Sound Without SilenceThe fourth album from the Irish pop-rockers is a similar continuation on a theme, with the catchiness and excitement of #3 taken up a notch with lead single Superheroes. First track No Good In Goodbye has some excellent plays on words, including “Where’s the us in trust gone?” and “Can’t take the ache from heartbreak”, cementing the band’s position of one of the best lyrical groups in the charts.

The sound overall has good mix of upbeat and more reflective songs, far more laid back than V certainly, but you do find yourself longing for one more singalong classic along the lines of Breakeven or The Man Who Can’t Be Moved.

There are influences here of other bands like Coldplay, Bastille and even The 1975, but never more significant than the odd moment.

The themes of the songs are still quite personal, but generally more aspirational and uplifting then they have been in the past. The Energy Never Dies and It’s Not For You both insist that you don’t have to take the situation you’ve ended up in and leave it at that, instead you can at the very least choose your attitude to it.

The Script - No Sound Without SilenceMusically the band’s use of piano is much more natural this time, but otherwise it’s hard to find many stand out moments, it’s more just that the entire mix – particularly the interplay of vocals between all three of the brand members – is really impressive and at several moments really makes the tracks something special, to the extent that you can feel the odd goosebump.

It might not have as much ammo for the charts as previous efforts but the songs are well crafted and fit together beautifully, creating an album you can just sit back and relax to or jump around the room with here and there.

In short, both these albums deserve your attention, do yourself a favour and at least pick, but, if you know what’s good for you, choose both.

James Michael Parry

Review | Rear Window | Classic Films | This Is Entertainment

Rear WindowIt’s unlikely Director Alfred Hitchcock appreciated just how right Rear Window’s Stella was back in 1954 when she said we had become a race of Peeping Toms: “What people ought to do is get outside their own house and look in for a change.”

In the constantly connected culture of 2013, the boundaries of privacy are blurred more than ever before and surveillance is a 24/7 worldwide phenomenon. This makes a trip back to ‘the good old days’ of simple astute observation – with neighbours (allegedly) looking out for and caring about each other – all the more appealing.

James Stewart is fed up. After six weeks of being laid up at home with a broken leg, following an unfortunate incident on a motor racing track, and nothing to do but gaze out of his window at the comings and goings of his neighbours. Quite unexpectedly, the unusual behaviour of one man catches his eye, and so begins one of the finest thrillers the Master of Suspense has to offer.

The lead character is key in a story all about perspective. Immediately you relate with James Stewart’s globe-trotting photographer L. B. Jefferies, a man who lives to be on the move stuck in one place with the same view day in, day out.

Equally interesting is Grace Kelly as Lisa Fremont, who steps up to make the role far more than it could have been. At first she dismisses Jefferies’ wild theories about murder and cover-up as paranoid suspicions, and as an audience every time you think you have worked out what is going on, something changes. Fremont’s perspective change is so quick you almost miss it, but the interplay between the two is vital at holding your attention and in building the suspense and intrigue as the story thickens.

Hitchcock’s legendary status is well-founded here, so much so that it gained him a nomination for the Academy Award for Best Director, and it’s easy to appreciate the talent a honing of a craft built up for decades beforehand with films such as The Man Who Knew Too Much, The 39 Steps, Rebecca, Strangers on a Train and even Dial M for Murder the same year.

Largely the film stands up to modern scrutiny expertly well. The occasional technical relic such as the sped-up-footage technique or some laboured panning creeps in, but really it’s hardly noticeable and all reflects the charm of the era.

The plot flows along at an impressive pace for a film set entirely on one set and the romantic sub-plot remains just that, rather than encroaching on the drama itself. The location, the Chelsea borough of New York City, is well-suited to the mood the film wants to get across. To be in the midst of the hustle and bustle but unable to see it save a small slither of roadway just through the gaps in the houses, the audience shares Jefferies’ feeling of entrapment bordering on claustrophobia.

It is a tried-and-tested setup, but it is also a shining example of how to do it right (which is why it is the first film to be awarded This Is Entertainment’s ‘Classic Film’ accolade). There was a TV remake in 1998 featuring former Superman Christopher Reeve as a paralysed shut-in surrounded by technology, and a ‘re-imagining’ in 2007 in Disturbia. In fact the latter was sued for copyright infringement on the original short story on which the 1954 film was based, but was, in the end, absolved.

In all the film delivers on it’s slow-burn build up with all the expertise you would expect from a name like Alfred Hitchcock. Far from pretentious, overly deep or lazy, this film has something for viewers at many different levels, offering a social commentary more appropriate than ever or just a simple, well-composed thriller, which demands your full attention.

In a nutshell: Broken legs, binoculars and brain-scratching in this accomplished thriller. A perfect introduction to the legendary Alfred Hitchcock.

Rating: 5/5

(Here’s a taster, the trailer to the 80’s re-release)

James Michael Parry

13 for 2013: Our most anticipated films, music, gaming, technology and cyberculture | Entertainment | This Is Entertainment

The fun and games of 2012 is behind us, so it’s time to stop doing Gangnam Style, put down your ‘New’ iPad and think about all the exciting things which will clamour for both your attention and your wallet this year. Here are 13 things we are really looking forward to:

  1. Ingress (Available Now)

Screenshot_2013-01-03-07-50-32It might seem strange to start with something which you probably haven’t heard of, but its mysterious nature is what makes it interesting. Currently search giant Google is beta testing an augmented reality app, which calls for users to investigate the world around them using their phone as a scanner.

Using the software from the Google glasses demo released last year, the team have come up with a narrative based around CERN’s Higgs Boson experiment. To request an invite for the beta go to the Ingress website (but expect to wait a few weeks). Expect more on the site in the coming months as we delve deeper into the mystery.

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  1. DmC: Devil May Cry (11 January)

dmcWhile the obvious candidate for the crown of ‘anticipated game of the year’ is Grand Theft Auto V, we decided to avoid tackling Rockstar’s media-teasing monstrosity and talk about some of the smaller hitters, beginning with DmC, a reboot of Devil May Cry.

Danté is back, now with a harcore-fan-outraging new look, and a more user-friendly play and combat style. Developers Ninja Theory haven’t held back in taking the series’ ingredients and throwing them in a blender to make a more dynamic and edgy game, not that it’s tricky to make a demon hunter who is half angel and half devil look edgy. What we’ve seen so far looks impressive, though the team have an uphill struggle to convincingly gain ground in the third person slash-’em-up arena.

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  1. The Joy Formidable – Wolf’s Law (21 January)

Wolf's LawAfter a stunning debut album from the Welsh three-piece, they are due to strike back this year with their second album. The band perform amazingly well live, and their songs have that element of originality mixed with a few familiar pop tricks which make them compulsive listening.

Lead vocalist Ritzy’s voice is immediately striking and the synergy in the group is second to none. First single ‘The Ladder is Ours’ picks up where the first album left off and drives the band’s music forward. Expect some well received live performances on the back of this CD later in the year.

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  1. Bad Religion – True North (22 January)

True NorthHardcore punk rockers Bad Religion continue to churn out albums at an alarmingly consistent rate and this latest effort is looking to be no exception. First single, ‘Fuck You’, has all the uncompromising energy and attitude you could expect from a punk band who have been making music for over 30 years.

Title track ‘True North’ reveals more, and gives a sense of the overall tone of the album itself, somewhere between the blisteringly quick songs of early days with albums like Incomplete and the philosophy of The Process of Belief.

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  1. Windows Surface Pro (28 January TBC)

Windows Surface ProWe’ve already waxed lyrical about Microsoft’s latest operating system, Windows 8, and what more could you want? Windows 8 in a handy portable package of course. The RT version of the Windows Surface tablet has been out for a few months and has sold “modestly”, but many IT enthusiasts are holding off for the full ‘Pro’ version, which runs standard windows programs as well as Windows‘ own tailor-made apps.

With boosted specs and plenty of positive reviews of the RT version already circulating, this could be the technology purchase of the year (well it’s less likely to be replaced in a few months like a new iPad might in any case).

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  1. New(ish) gaming IPs: Remember Me (May 2013) and South Park: The Stick of Truth (March 2013)

Remember MeDespite the Xbox 360 nearing the end of its life (see point 11), there are still new IPs coming to the console which look promising. South Park: The Stick of Truth, though not entirely new since it is based on the South Park cartoon series, is the first which cartoon creators Trey Parker and Matt Stone have been directly involved with throughout (reportedly because they were sick and tired of bad South Park games). The game riffs on the classic staples of turn-based RPGs and is sure to have plenty of the sort of laughs and cultural references the TV show is known for.

Remember Me is Capcom’s take on manipulating reality by changing people’s memory in the near future. The game features a protagonist called Nilin, a ‘memory hunter’ who has lost her own memory and is on a quest to get back what she’s lost, while forcing people to kill themselves through memory manipulation along the way. The game is being handled by newcomers Dontnod Entertainment, but reception to the game so far has been promising, so hopefully this won’t be a case of all shine and no substance like fellow near-future jaunt Syndicate was last year.

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  1. Star Trek into Darkness (17 May)

Star Trek into DarknessZachary Quinto and Chris Pine reprise their roles as Spock and Kirk as we go Star Trekking once again, this time with the help of Sherlock Holmes, well, Benedict Cumberbatch. Star Fleet is under direct attack this time around, and Cumberbatch, who plays an unknown character who may or may not be linked to classic Trek film The Wrath of Khan‘s Khan.

The first teaser trailer shows all the destruction and drama you have come to expect from J.J. Abrams’ reboot, and with the acting talent in the mix it would be difficult to not make this the cinematic spectacle of the year. At least unless a bunch of superheroes turn up…oh…

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  1. Man Of Steel (14 June)

Man Of SteelZack Snyder directs the latest in a long line of Superman films, but this time, for the first time ever, Superman himself is British. Jersey-born Henry Cavill, who you may have seen in The Tudors TV series or 2007’s Stardust, dons the red boots in a familiar tale, retold.

Not much to get excited about you might think? But with Christopher Nolan on Producer duty, the studio must be keen for some of his success with The Dark Knight Trilogy to rub off on Man Of Steel.

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  1. Comic book films return (Sin City: A Dame to Kill For (4 Oct USA), Kick-Ass 2 (19 July), Thor: The Dark World (Nov 8), Iron Man 3 (26 April), The Wolverine (26 July))

Christopher Mintz-Plasse in Kick-Ass 2Superman isn’t the only superhero doing the rounds this year of course, there are a bunch of sequels on the way to astound and delight us all. Of these the most exciting is Kick-Ass 2, which sees Kick-Ass, Hit Girl and Red Mist all return, with original actors Aaron Taylor-Johnson, Chloe Morentz and Christopher Mintz-Plasse, for another round of crude and comic caped action.

This time Red Mist is seeking revenge, as teased at the close of the first film and Jim Carrey also makes an appearance as Colonel Stars and Stripes. With so many dark and ‘mature’ style superhero flicks flying around it’s good to have something like this as an antidote.

(No Kick-Ass 2 trailer just yet I’m afraid, but Iron Man is shaping up nicely too).

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  1. Reading Festival 2013 (23-25 August)

Reading Festival 2012With organisers Festival Republic kicking off the hype train early this year, we already know that Eminem will be one of this year’s Reading Festival headliners. Also in the mix are Alt-J, Deftones and Sub Focus.

The event always pulls in some of the greatest acts in the world for the year and the atmosphere is difficult to beat for a full weekend festival. Plus following the re-jig and re-brand last year things will be running even more smoothly, leaving more time for drinking and moshing than ever before.

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  1. The next Xbox (Q4 TBC)

The next Xbox?The Xbox 360 has now been on shop shelves for seven years, with hardware older than that, and in some places it’s beginning to creak at the seams. The lack of big game release dates after May this year leans heavily towards a hardware reveal at this year’s Electronic Entertainment Expo, after a decidedly by-the-numbers affair last year.

The gaming community are beginning to cry out and despite manufacturer Microsoft’s claims in 2010 that the console was only half way through it’s life cycle, the clock is ticking. The time makes sense for the company too, since they won’t want to risk falling behind rival Sony‘s next release, which is still unannounced.

At present no concrete news has come out about the next Xbox console, despite rumours being rife, but whatever happens it is likely to slot effortlessly into its parent company’s efforts with Windows 8. The question is, will they strike while the iron is hot?

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  1. The Hobbit: The Desolation of Smaug (13 December)

The Desolation of SmaugAfter the success which Peter Jackson had with the first instalment of The Hobbit, An Unexpected Journey, we have our fingers firmly crossed he can keep up the momentum for a further two films. The subtitle for this year’s film, The Desolation of Smaug, would suggest this is the chapter in which Smaug is vanquished, but what does that leave for film three?

The multi Oscar-winning director is doing it for the love at this point, so it’s hard to see him making a misstep at this stage, but the real draw for this next film is the returning cast, all of whom shone in part one. How can you say no to more Gandalf?

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  1. The digital entertainment tipping point (TBC?)

The final point in our list is more speculation (speculation you say? On a blog? Outrageous!) around the subject of digital distribution. It might not be something to look forward to if you are keen on polishing the boxes on your CD shelf, but the digital revolution is happening right now. In music in particular the market is struggling to cope, as consumers begin to buy songs online through the likes of iTunes more and more.

The BBC recently reported that in 2012 CD sales fell by 11.2% overall, with sales of physical copies down 20% to 69.4million, compared to a rise or 14.8% for digital, bringing its total up to 30.5million. Surely the day we see digital in the majority isn’t far away?

In gaming and films too things are changing, as more people stream or watch films online, sometimes through games consoles, and various on demand services such as Netflix providing access to thousands of films without the bother of popping down to Blockbuster. Games on demand on Xbox remains uncompetitively priced, but avenues such as Valve’s Steam platform are proving more popular than ever before.

The interconnected nature of technology is making viewing entertainment easier every year and this year could be the time when we start to see the digital future really come into its own.

A Digital FutureJames Michael Parry

Film: AVATAR – 3D’s shining light?

Director James Cameron gives lead guy Sam Rockwell a few pointers…literally

Seeing things in 3D is quite ordinary. Think about it, you see in 3D (and super-duper HD come to think of it) all the time. In cinema though there’s always been a certain fascination with the third dimension, to give films depth you can’t get on a run-of-the-mill screen.

Since I’ve already delved into the history and technicalities before (take a look at my previous post if ye dare), I’ll move on to the case in point: James Cameron’s much anticipated epic, Avatar.

After fourteen years waiting for technology to catch up with his imagination, or so he would have us believe, Cameron invites you to the far flung world of Pandora to learn about the dangers of damaging the environment – in a nutshell, it may fight back.

The film itself, ignoring any 3D aspect whatsoever, was good. The story and characters were on the cliché side, but the style of the picture saves it, plus a top-form performance from not-so-newcomer Sam Worthington as Jake Sully.

Comparisons to the story of kids’ 80s TV show The Smurfs aren’t totally unreasonable, in fact the South Park episode on the subject is well worth a watch, but it all comes down to a simple message about not destroying our beloved planet.

Never fear though, remember this is the James Cameron who brought us Aliens, so there’s action and excitement a-plenty – there’s even a giant tree!

But what about the gimmick/innovation that is 3D? As the screen instructs you to ‘Put on your 3D glasses now’ there’s a well of anticipation and as the spectacle begins there’s a satisfying feeling of ‘oooo ahhh’. Soon though the initial shock of seeing things with a little more depth wears off and you let yourself get engrossed in the story, and apart from the occasional flurry of leaves towards your face or burning shrapnel flying perilously close towards you, all the hype of 3D sinks into the background, adding to the film surprisingly subtly.

So Cameron delivers his master-stroke with ease, and an awful lot of patience, but it’s film-goers who benefit, since Avatar hammers home the fact that 3D films are no longer restricted to cheesy animated shorts or tedious specials about underwater life at the IMAX. Whether 3D will prove to be more than a fad this time around remains to be seen, particularly with home 3D technology just around the corner, but for now it’s here to stay, complete with its fairly ridiculous prices – unfortunately.

And happy new year everyone! Thank you for reading This Is Entertainment this past year and I hope I will continue to amuse and inform you in the coming months as well.