A near perfect film in the right place at the right time
EVEN without intimate knowledge of the inner workings of a video game studio, it doesn’t seem too presumptuous to question the credentials of any outfit that would roll out a game so ill-conceived and unfinished as Brawlout.
A little more than looselyon the wildly popular Super Smash Bros series of games, Brawlout seems to be filling a rather large unoccupied space in the Nintendo Switch market.
From the outset, it is very clear that Brawlout eschews most of the wackiness from the content-rich Smash series, opting to instead focus on the pure fighting favoured by hardcore competitive Smash fans.
Bar the puzzling omission of shielding or grabbing moves, the controls in Brawlout are almost identical to those of Smash, as is virtually every other aspect of the actual gameplay.
What can be said for Brawlout is that the cast is presented well and extremely well balanced. When Brawlout really begins to grate is with its progression system.
While it is acknowledged that bashing loot boxes is the current hot take in gaming now, Brawlouts glacial and arbitrary progression grind is almost unbearable.
At the beginning of the game you are given just three stages to play with. To unlock more, you have to level up a particular character across many fights meaning that you can’t just stick with a character you like, instead you must play each character a painful amount of times to unlock things that should really already be accessible.
Compounding this frustration even further is the absolute farce that is the online play.
If you are lucky, a very small selection of the matches you play will be smooth enough to allow for the intricate controller inputs required of such high-tempo games.
Unfortunately, most of the matches you will play will almost certainly be laggy to the point where the matches become more of a slideshow than a video game. HELL hath no fury like a grief-stricken mother scorned in London-born writer-director Martin McDonagh’s blackly comic thriller, which pits one vigilante parent against her local police force in a fictional midwestern town.
Impeccably scripted and blessed with a blistering lead performance from Frances McDormand, Three Billboards Outside Ebbing, Missouri is a near perfect film in the right place at the right time.
McDonagh’s explosive morality tale is fuelled by the righteous anger of a spirited woman, who believes her concerns are being ignored by men in power and will not rest till all lines of inquiry have been exhausted in the pursuit of justice.
Her rebel yell sparks sickening violence that may divide audiences, including one scene in a dentist’s surgery that leaves jaws truly dropped, but brutality always serves the lean, muscular narrative.
Salty, quick-fire dialogue is peppered with polished one-liners that the ensemble cast savours, like when Woody Harrelson’s beleaguered police chief confides that he is terminally ill and McDormand’s thorn in his side confirms that she already knew and still put up the billboards.
‘Well, they wouldn’t be as effective after you croak, right?’ she tells him with steely resolve.
It has been seven months since Angela Hayes was abducted, raped and murdered on her way home.
The dead girl’s stoic mother, Mildred (McDormand), is infuriated by the lack of progress under police chief Bill Willoughby (Harrelson).
Consequently, she rents three advertising hoardings from Red Welby (Caleb Landry Jones) on the outskirts of town and emblazons each billboard with a message aimed directly at the man responsible for apprehending the culprits.
‘ To me, it seems like the local police department is too busy going round torturing black folks to be bothered doing anything about solving actual crime,’ Mildred tells a local TV reporter on air, ‘so I thought these billboards might concentrate their minds.’.
Officer Jason Dixon (Sam Rockwell), who is under the thumb of his bigoted mother (Sandy Martin), reacts violently to Mildred’s public spat with his station.
Mildred’s teenage son Robbie (Lucas Hedges) also suffers abuse at school as a result of his mother’s inflammatory actions.
However, Mildred refuses to back down.
‘Looks like we got a war on our hands,’ Willoughby calmly informs his concerned wife Anne (Abbie Cornish).
Three Billboards Outside Ebbing, Missouri creates a vibrant portrait of small town life torn asunder by personal vendettas and retribution.
McDormand is magnificent, skilfully letting her character’s frustrations come to a boil, with harrowing consequences.
The emotional journey of Rockwell’s racist cop isn’t wholly believable but his fearless portrayal papers over the tiny cracks and there is glorious support from Harrelson.
McDonagh directs with an assured hand, deftly juggling the ticking time bombs of ghoulish comedy and heartrending tragedy.