Jump to content


Popular Content

Showing content with the highest reputation since 10/07/2019 in all areas

  1. 6 points
    Ocelot Jugular and then this guy walks in front of me. lol.
  2. 4 points
    Just finished Mindhunter season 2. Brilliant show.
  3. 3 points
    Oh man... Hell of an effort @Con ! One of these days we’ll pull of a win. Thanks @djw180 for setting it up. And congrats to @Protocawl and @Spinnaker1981 Well done!
  4. 3 points
    He got shoved so hard that his bandana came right off!!  Hahaha Never seen that before.
  5. 3 points
    That reminds me.....my Hellfire
  6. 3 points
  7. 3 points
    Future plans for RDO. No DLC plans for single player. https://www.vg247.com/2019/09/27/red-dead-online-future-heists-villain-lawmen-business/
  8. 3 points
    Lost Boys is a definite plan. Won’t take much to convince the gf to watch it. I’m going to let her choose which of the other two films to watch. She is a fan of horror though so she’s fairly keen with this months theme.
  9. 3 points
    Best character in any film I think. I couldn’t take my eyes off him!
  10. 3 points
    The Lost Boys (1987) The nostalgia while watching this as an adult was strong, it really transported my inner self to 1987 when life was absolutely amazing, but I will not allow nostalgia to affect my review. As soon as Echo and the Bunnymen's version of "People Are Strange" starts up, you just feel like you are going to watch something interesting and the song plays while we see the family's arrival to Santa Carla in the faces of the diverse population, starting with the standard punk looking folks and basically covering every segment of the populace, I loved that shit!!.... and I felt this was a perfect way to start the film as wherever this is taking place, there are a lot of people so I expected plenty of carnage. The moment I saw Sam (Corey Haim) arrive at Grandpa's (Barnard Hughes) and Sam had that oversized pastel shirt, I chuckled at how normal we thought that looked back in 1987 ---- and there was one thing that stood out to me while I watched this entire film----the perpetual smile on my face while remembering this era and story. I felt the acting was very good and felt that only some of the extras were weak but nothing awkward jumped out at me----especially nothing bad from the main actors. Although at my current age, David (Keifer Sutherland) wasn't as menacing and threatening as he was back when I was 13 years old, he still manages to pull a great performance as a cool motherfucker you dont want to mess with. I remember all the girls I went to school with were in love with the David character, I mean, these girls would rather make out with a damn vampire than me during the school field trip, lmao. I think Keifer pulls a perfect balance for David and I do feel David is a very underrated film villain---- I've seen Most Evil Movie Villain lists and rarely do I see David on them and he should be right up there as he is nothing to play with in this film. One of the top David moments for me was when Edgar (Corey Feldman) and Alan (Jamison Newlander) try and kill David in the lair and the sunlight burns David's arm and we see that tear come down his face and we feel David's humanity for a brief second, I felt that shit was powerful as it added dimension and vulnerability to the villains, not just David...but it turns out that moment was just luck as the tear isn't from the actor acting but due to the contact lenses that hurt the actors and had them in tears, but without knowing that piece of trivia, you would think that tear should have won an Oscar. lmao. As for the Corey's, maaaaan, those cats were everywhere for a reason, their talent is unquestioned and they make the film's tension and suspense work at a level that would not have been as effective had their characters been the same age as the vampires. I also really appreciated that the phrase "The Lost Boys" is never mentioned in the film, it really is a trivial thing but I like being left to interpret who the "Lost Boys" actually are....we could debate this for hours. I also thought Michael (Jason Patric) was portrayed very good, especially once he begins to transform as his performance had to be strong for him to sell us that inner conflict of the supernatural taking over but his human side fighting it and for me he sold that illusion fully. I cared about Michael and Sam but that is because from the moment they arrive at their new home, both Haim and Patric do a fantastic job at establishing this amazing brotherly love through their funny displays of affection and rough-housing before the shit really hits the fan. My favorite scene??? Take a guess....yes, the beach slaughter, I found it as disturbing today as I did when I first saw it. It doesn't last too long but what we see is pretty damn vicious as we finally get to see just how deadly these charismatic vampires are and we get limb ripping, scalp tearing, lifeless corpse burning, human flesh eating bloody goodness. All while Aerosmith's Walk This Way plays in the background...the entire scene is great, as it begins with them stalking their prey, I remember back at the first viewing always thinking they were going to steal their motorcycles and stuff so when they begin killing, it was a shock and it still kinda was this time around as the scene was pretty horrific. Honorable mention goes to all the comic book store scenes, they were all fun and I wish they would have followed the Frog Bros. instead of giving us the Star and Michael romance which was too rushed to be effective in my opinion. The production design highlighted the time period perfectly with the neon lights, the fashion, the hair...if someone ever asks me what were the 80's like, I will just direct them to this film!! This film nailed every segment of the 80's, I feel one could write an entire essay on all the wonderful 80's imagery and fashion within. The cinematography was brilliant and only negative was them using the same overhead shots of the boardwalk at night, I know it was meant to be the vampires POV but i believe the same shot was used three times and is the only minor thing I can even criticize about the direction of photography, everything else worked. The scenes of the victims being pulled up into the sky were shot expertly and honestly were terrifying...like Pterodactyls snatching cavemen up!! They were very lucky to get Michael Chapman as he is a genius at his craft. Let's talk soundtrack....Every song seems to help the movie move along and nowhere did i feel the combination of image and sound to be more perfect than the bike chase scene when Michael is trying to keep up with the vampires...you get that song "Lost in the Shadows" by Lou Gramm as they ride in the night, that had me hype and I think this is why I like the film so much, these shots of adrenaline throughout that come at just the right times, the film never gets pedantic and when it starts to, BAM, we are hit with scenes injected with either humor or action. The soundtrack compliments the film and how can I write this part of my review without mentioning what I like to call him ---- Conan the Barbarian on the Sax ---- a.k.a. Beach Concert Star (Tim Cappello), I thought that scene was hilarious and really felt like someone had handed a sax to a pro-wrestler and holy rubik's cube, if that scene wasn't more 80's, I don't know what will ever be, a fucking WWE look-alike, oiled up playing the sax singing with such conviction and violent gyrations that his minor character went on to play a huge role in the comic adaptations. The way this scene is framed and just how much energy is coming off the extras just had me smiling the entire time, come to think of it, I caught myself smiling a lot during the entire film as I remembered scenes I had forgotten. Fuck, I recommend all of you reading this revisit all your childhood faves now as adults!!! I can't promise you'll love your old films the same way but when you find ones that remind you of good times, you'll thank me. So yeah, the soundtrack works and never gets in the way or manipulates you to feel any certain way, they do play the "Cry Little Sister" theme a few times but it is the official The Lost Boys Theme so that's expected and I didnt feel it was overused or used at the wrong moments. Now some negatives...I think the one thing that bothered me was when Edgar and Alan go and try to kill the vampires while they are asleep. So these Frog Brothers (Frog is their last name) they have been hunting vampires for what seems like a while despite how young they are, afterall I got the impression that they had created the Vampire comics they give to Sam and while they sell their experience and knowledge to Sam, I was shocked that they hadn't built a "stake"-gun. I would have liked for them to take some type of homemade gun when they went to kill David while he slept. I liked everything about that scene except that they had to climb and try to put a stake through a hanging-swinging body, that was one of the moments where I questioned the behavior of the characters. The pacing in the third act kind of speeds up and did feel like some things are rushed, like the dispatching of the main villains, while entertaining with the funny deaths, I wish more time would have been devoted to outsmarting the vampires. Another thing I found odd was seeing Laddie (Chance Michael Corbitt) on the milk carton, meanwhile they take him to the boardwalk and beach at night and no one ever notices him in public?? "Hey that looks EXACTLY like the kid on the milk carton." anyone? I also feel that the twists were handled poorly and that's probably because they played them for comedy, take the revelation that Star had chosen Michael as her first kill, that could have been brought up earlier and we would've had that tension when Michael decides to save Star from the lair---that would've been her chance to kill him but instead we are cheated any quality moment because we have to cut to the comical Frog Brothers. While I appreciated the ending with the grandpa giving that funny last line, I would have wanted an end dream sequence where we see Sam walking in the boardwalk and suddenly everyone we see is staring at him in their transformed vampire state....because we needed more horror moments as I felt the comedy deflated some opportunities for it to be darker in places...like the end. Don't get me wrong, I thought Grandpa was awesome and the actor really injected great energy into the character but I would have prefered a more sinister line of dialogue in the end. I kept noticing reviews mentioning that the film has gay undertones and that Michael is too much of a stalker....for the first point, they use as examples, Sam's tub scene, Sam's Rob Lowe poster, the oiled up Sax man, and who knows what else, personally, back then and today, none of this undertone stuff grabs my attention. The director was gay so there’s that, so maybe that’s why we don’t get boob shots and get a Rob Lowe poster instead but who cares, I mean, I went to school with kids that had posters of the group POISON on their walls and all those hard rockers wore spandex, eyeliner and eyeshadow, and had big hair and no one cared because it was about the music, so for me it was about the film. So about Michael being a stalker, well this can easily be explained by the fact that Star had chosen him for her first kill and I could imagine how her natural beauty and her strong vampire magnetism were no match for Michael and he would have been forcibly attracted to her, and we see this element in Dracula films all the time as he always seems to get the hotties. Okay let’s close this review up... Final Verdict...4/5...The Lost Boys, a truly charismatic horror-comedy hybrid with teen vampires and even younger vampire hunters, set in the late 80’s...and man is it still a fun watch. Yes I was still heavily repulsed by the rice-maggot scene, always will be, I just cannot stomach maggots in any form...I could raise any other insect but maggots...I’m about to puke right now! And that’s just it, personally the film took me back to an awesome time in my life that I will never get back. Back when it came out, I obviously related to the Coreys as I was almost the same age and after watching this that very first time, my friends and I would always be on the lookout for vampires at the county fairs and pop-up carnivals. Yes the film isn’t a scare your pants off horror film as only a few moments are truly terrorific but this wasn’t meant to be Evil Dead and was supposed to originally be lighter and more family friendly and it really is a great "scary" film to show your young kids. I enjoyed the film because I felt everything worked to tell an interesting story, although as a child I was far more scared by 1985’s Fright Night, this film still entertained me so much and having been alive and a teen in 1987--that just added a little more joy. The Lost Boys went on to become such an iconic and influential film. This film single handedly introduced the concept of attractive young vampires and not the old farts we were used to seeing play Dracula-types and that young vampire concept might have been done before, but never like this, The Lost Boys was like catching lightning in a bottle and it went on to alter pop culture forever -----and is why I consider it a classic. So glad I got to watch it thanks to the film club, I had forgotten just how entertaining it is and like I said, it was a bit more special having been a teen during the same time period and subtly reliving great memories from the film and real life. Needless to say, I had a blast watching this so thank you again, film club!
  11. 2 points
    I responded, but with the significant time difference between here and all EU countries I feel it's a little too vague for me. To be as clear as possible, here are the limited times I can do; Friday 8pm UTC to Saturday 9am UTC Saturday 8pm UTC to Sunday 9am UTC (End time can be a little flexible) My kids are with their Mum every second weekend, so on the weekends that they're home I'll likely have to step away for a few minutes every now and then, but it won't impact on the time I have too much. I've never had to stop during a mission to do something for them so far, but can't promise that it won't happen (they come first 100% of the time). I can be online during the week, but it's very inconsistent and incredibly limited time, so not enough to be able to get anything done. As I said before, I'm happy to drop from the EU team if necessary. From the times I've seen @SINISTER120 online, and being in (almost) the same time as @revbouncer I'm confident that we could form a third 3-man group, assuming both are up for it. I'll be as flexible as possible though to allow everyone interested the best opportunity to take part in a team, even if that means that I miss out (this time)
  12. 2 points
    Just a heads up for those with access to Channel4's on demand / catchup service, probably UK only, not sure. This is available for free at the moment, for another 14 days https://www.channel4.com/programmes/the-killing-of-a-sacred-deer. I've wathced it and was very impressed. Will say more later when I've sorted out what to write.
  13. 2 points
    While @ssracingn2 celebrated his flippin good fortune, @revbouncer was hitting the flame-broiled grill hard!!  See the kind of shit you are missing out on by not joining the TNT on Thursday nights? 
  14. 2 points
    Exiting the stunt tubes properly takes  massive amounts of skill and a thick testicular or vaginal wall and Dodge wasn't equipped with either here. 
  15. 2 points
    I got 1:01.929 in Toros and 1:04.030 in Brioso.
  16. 2 points
    Changed different things in attempt to get a better lap (even repainted it in a faster colour) but this is as good as it got.
  17. 2 points
    https://www.imdb.com/title/tt7458762/ Now, once again we have a movie about submarines... I love these kind of movies, but this one is actually very special. The sounds are amazing, the idea is pretty good, even if the plot is somewhat close to another submarine movie from the 90´s (Crimson Tide). I would recommend watching this. "The human beings come in three kinds: the living, the dead and those who go to sea" 8/10
  18. 2 points
    @Fido_le_muet Oh hell yeah, the Intouchables is great. One of my Top Ten (go look at my list!) I watched this in the local independent cinema only knowing that it was a foreign film about inner city man and rich man that need each other, whatever the other film playing was must have sounded more cliched so i went to this instead and just enjoyed every minute of it. And that ending....fucking hell, gets me everytime. From that first scene where we learn about you know what, I had no idea he was you know, cause he seemed to be enjoying the chase at the start. From that moment of the reveal, I was like, oh fuck this isn't going to be some cheesy shit, this is deep. I guess I really loved it because three years previously, my father in law had passed away and the last two years of his life, I hung out with him a lot and ended up taking care of his needs, so that was fresh in my head when I watched this so I was instantly emotionally invested through that element. Some people just refer to it as a funny warm buddy comedy but for me it had a farther reaching message in many ways. I have no plans on watching the remake with Hart and Cranston and it might be okay, but I just dont need to as I rather watch the original again instead. I forgot to mention that as I watched the opening credit names, I only recognized one, the genius composer, Ludovico Einaudi, I had heard some of his other piano works and when his name come on the screen I remember saying to myself, "Well i know one thing, the music will be amazing." and he sure did not let me down as that ending doesn't need the music but the music absolutely cements that moment. Of course at the end they show us the real humans it is based on and that just added more value to what I had just seen.
  19. 2 points
    This was on TV tonight. Saw it when it was released. Huge hit here in France. And it is damn well deserved. Based on a true story, it tells the story of a wealthy paraplegic man (Cluzet) who hires an ex-con (Sy) as his caregiver. They couldn't be more different but eventually they become friends. Despite his criminal background and lack of experience as a caregiver, Driss (Sy) does a wonderful job, even if his methods are... unconventionnal. Sounds cheesy but it is wonderfully made. It's a comedy and a very good one at that. But the movie also carries a lot of emotions and shows how much each of them evolve while their friendship grows bigger and bigger. I love how Driss never treats Philippe with pity. He's a man and despite his handicap, he's the same as every other man and Driss knows how to help him and adapts it to his handicap. He's naturally good and nice to him and it's a delight to see him put his own touch in this strict, polished world. He shares his joints with Philippe and take him on rides in his Maserati again (Philippe was using a wheelchair friendly vehicle since his accident). And Philippe is better for it, it's like he's reborn. He smiles again and has fun. He's happy. Driss helps him with his teenage daughter (being stricter with her) and with his love life. Afraid of revealing his disability, Philippe only has a 'thing' through letters with a woman. Driss convinces him to see her but Philippe refuses to meet her at the last moment, seeing himself only as a crippled man. Meanwhile, Driss discovers classical music and becomes educated in art. He even takes up painting himself and discovers he's quite talented. SPOILERS: The ending is wonderful. Driss takes Philippe to the sea. They go to a fancy restaurant overlooking the beach and Driss leaves, wishing him luck on his date. His date from before arrives and Philippe is stuck. He looks at Driss, now outside and they both smile. He's happy. Cornered but happy. This is what he needed. Cluzet is amazing in this scene (and in the whole film by the way). How he shows all these emotions only with his eyes and his face. Incredible acting. Omar Sy is also at his best in this role that revealed him as an actor. It's a very fun movie, lots of laugh but lots of emotions at the same time. Great acting from both leads, the ending will bring a tear to your eye. Wonderful story about friendship and it a real reflexion about people with disabilities and how to treat them as people, just people. 9.5/10
  20. 1 point
    It's that big ass hat!
  21. 1 point
    I'm gonna be selfish here, and throw this film in as an extra for Halloween simply because I can't stop thinking about it since I saw it a few weeks ago and would really like to hear your guys' opinion on it. The Killing of a Sacred Deer is a psychological horror/thriller from Yorgos Lanthimos (The Lobster, The Favourite), a Greek filmmaker who has fast become one of my favourites. The film stars Colin Farrell and Nicole Kidman as Steven and Anna Murphy, a seemingly perfect couple. They are both medical professionals, they have two bright young children, and live in a luxurious home with all the trappings that entails. But Steven has a strange relationship with the young Martin (Barry Keoghan), one that threatens to tear his family apart. If you know anything about Greek mythology, you can probably get a good idea of the plot from the title, but I won't say anything about it here, because each new revelation pushed me further towards the edge of my seat. I will spoil the score I'm going to give this now though by saying that, for me, this film is a perfect 10/10, and Lanthimos's best film to date (despite The Favourite being nominated for a butt-load of Oscars). a surgeon never kills his patient...
  22. 1 point
    As was said, they're for 2, 3 or 4 players only. I'm all for going for the awards and challenges of the Doomsday heists (and still would like to do the original heists in 1st person challenge, too). @Fido_le_muet and I did the 2-player Doomsday mastermind challenges a while ago and that was great fun. Looking forward to doing the challenges with 3 and 4. They add the extra layer of purpose and communication to doing these heists. I don't even remember how much we got paid for it, but it was a really rewarding experience (not talking about the cash reward here! ) Anyway, I'm up for it if the time/times suit me. Got plenty of experience and remember some tips and tricks from when we did it with Fido.
  23. 1 point
    Apparently it's pretty hard on normal settings, so we will mess it up for sure! We did heaps of practice runs when the 1st heists came out. If you did them all with the same people on hard without dying you got a 10 Mil $ bonus. It was worth the effort getting that! I don't think there are any bonuses like that with these ones but I'm sure they will take a few goes to complete. I have heaps of in game cash so I have no problem with the set up costs, I would just like to do them and experience another part of the game.
  24. 1 point
    No problem Skorp, hopefully it does allow up to 8. Still some reserve players are always handy and if enough people are interested and we can only do 4 at a time, I can do it twice, I don't mind as it's all making money
  25. 1 point
    Ok we have Dodge, Sinister, Lady A, Myself and Omar. I have read that if we establish a Motorcycle club beforehand we can have up to 8 players otherwise it's only 4. I can't find anywhere to clarify that yet though. Does anybody know the max numbers we can have? As far as the time goes I'm happy for Dodge to set the time as I can prepare ahead for most times and you guys are in the higher part of the globe so a time that suits "ya'll" is fine by me.
  26. 1 point
    I still need to do this myself and would happily return to GTA to help.
  27. 1 point
    Starts in 4 hours and 20 minutes.
  28. 1 point
    I tried to read some about it but ended up with the picture of it being a pc (modd) thing, maybe transfer job from pc to ps4 if thats possible. I gave up the idea and settled for this. Have not found anthing on RSC either.
  29. 1 point
    Is the Jugular in sedans class? Is the Hellfire better than the Dominator GTX for racing?
  30. 1 point
    Ok thanks. Must be a change of times due to daylight savings. I'm guessing it's on in 40 mins or so?
  31. 1 point
    Times from last night @Lann @Spinnaker1981 SUVs https://pbs.twimg.com/media/EGiwxg5XkAIyKb2?format=jpg&name=large Compacts https://pbs.twimg.com/media/EGiwu4FWoAEmQRT?format=jpg&name=large Lann may times are 1:04.466 Toros, 1:05.833 Brioso Also just noting @Firebear926 sent me his time via PSN 1:02.930 Toros
  32. 1 point
    Love the Dune, will likely run some laps at some time.
  33. 1 point
    Challenge over, please post your times ASAP.
  34. 1 point
  35. 1 point
    Yeah, I really went for it on this one, sorry about that
  36. 1 point
    I took a lot of notes for this one, and have a lot to say about this film, so this might run long. The film opens with a sombre classical piece over a black screen, starting us off with a good idea of the tone of the film. The first thing we see is a close up of a real heart undergoing surgery. The camera is uncomfortably close here, something that Lanthimos does throughout the film, all of the close ups are too close, making it feel like the characters are invading your own personal space. The camera then starts to slowly track away from the heart, like the spirit of the patients is leaving the body to haunt the hospital. Then we see Steven Murphy (Colin Farrell), a heart surgeon, removing his bloody gloves and throwing them in the trash, literally washing the blood off of his hands. Very symbolic, considering things we learn later on. Then we cut to a long shot down a hospital corridor of Steven and his anesthesiologist, Matthew (Bill Camp). As well as the uncomfortable close-ups, this is another type of shot you see a lot in this film, the very distant long shot that feels voyeuristic, like we're spying on the characters. The way the camera tracks through the corridor, very slow and measured, reminds me of the way Kubrick shot the hotel in The Shining; the way that The Overlook felt haunted by the ghosts of past guests, here, the hospital feels haunted by former patients. Throughout all of this Steven and Matthew are having a very bland conversation about watches; strap types, how deep can it go, etc. This is important, however, and gives us an idea as to the main theme of the film, fate. Just like time keeps on ticking and there's nothing we can do about it, so do the events that transpire later. In this scene we also get the first taste of the very distinct line delivery that you get from every actor in this film. This is something that Lanthimos does in every film of his to varying degrees, some have much more emotion than this. In this film everyone speaks with little emotion in an almost monotone. This is very divisive, some people hate it, some love it. Me, I love it. For me, it allows you to see the emotion in the performances physically, rather than the actors using their voice. It also adds to the very sterile, controlled style in this film particularly. The main character is a surgeon, and as such, everything about the film is done with precision. We then see Steven in a diner, waiting for someone. The camera here is behind him, and slowly creeps up on him, and this is how we're introduced to Martin (Barry Keoghan), so we're immediately uneasy with him just from the direction. Steven offers him some money, which seems strange. For a long time their relationship is a mystery, how do they know each other? Why is Steven giving him money? It's all very uncomfortable. This is made more uncomfortable by their conversation. Just like in the previous scene the dialogue is about very bland, boring subjects; haircuts, saving the fries for last. All through this we cut between close ups of the two, uncomfortably close close-ups. They're then seen hanging out by the river. Martin says "sorry I was late today" telling us that they have been meeting for a while. Steven then gives him an expensive watch, the same kind he was talking about with Matthew. The way Steven has offered him money and now given him this watch feels like him trying to buy Martin off, but we still don't know why. Martin, upon getting the watch, says "can I give you a hug?", but the way he says it and the way he goes in without a reply from Steven makes it feel less like a request and more like a demand, and he knows that Steven won't say no. First mention of the soundtrack here, real high strings not really playing a melody, but playing a mood. Most of the original score for this film is like that, very ambient percussion and distorted strings, again, very Kubrickian. There's a nice transition here from a slow zoom in on Steven and Martin to a slow zoom into the family's house, seeing them through the window. It's now night-time, so there's a nice contrast between light and dark, almost implying that Steven is living a double life. He's having dinner with his family, wife Anna (Nicole Kidman), daughter Kim (Raffey Cassidy) and son Bob (Sunny Suljic). Their home feels very sterile, almost as much as the hospital, with everything in its place and every surface gleaming. It's almost a parody of a perfect upper-class suburban home. Their conversation is also sterile and bland, like every other conversation so far, talking about buying a new couch and Bob getting a haircut. Anna has a great line here at the end of the scene. Kim gets jealous of her brother after Anna compliments his hair, and Anna, to placate her, says "we all have lovely hair". I found that so sinister and honestly, I can't really say why, it just stuck with me. Anna is now getting ready for bed, talking to Steven about more bland things, a new dress, lemon cake. It's also revealed that Bob wants to be an ophthalmologist, just like her. She then strips to her underwear, asks Steven "general anesthetic?" before lying prone on the bed, unmoving and unresponsive, their love life as sterile as the rest of their lives. All the while the camera slowly creeps in. We then cut to Steven walking through the hospital, the camera high up and following him closely, again giving the feeling of some spirit haunting him. The music here also reminded me of the high pitched tension music from Ghostbusters, which, I guess, adds to the spooky feeling He finds Martin waiting for him, and tries to scold him for coming unannounced. Martin is very apologetic here, but his tone doesn't sound apologetic, he almost sounds like he's challenging Steven when he says sorry. Back in the family home we see Steven, dressed up in a tux, in Kim's room watching her practice her scales, because of course a daughter in a family like this would be in a choir. I love the look of genuine pride in Steven's face when she finishes and he applauds her. The camera in this scene is very static, like a fly on the wall kind of feel, which you see a lot in scenes in the house. It kind of reminds me of Norman Bates watching people through a peephole in Psycho, very intrusive and voyeuristic. Steven was dressed up as he is to give a speech at a fancy banquet. This shows us his status and the respect he has in the medical community. But his speech is like the rest of his conversations so far, very sterile and now full of technical jargon that makes it hard to understand for outsiders. In this scene we also learn that he has given up drinking, indicating a past problem. I like how in this scene Anna seems to be mothering him, saying that he can't stay out late because "he's got surgery in the morning". There's also a shock when Steven and Anna are talking to a colleague when Steven nonchalantly remarks "our daughter started menstruating last week". This is met with no response, giving the impression that these peoples lives are so bland and numbed that even saying something like that won't bother anyone. The next day we're following Steven and Martin, who are walking along the river, with a very low angle tracking shot, like some monster is stalking them, ready to pounce. During their conversation Martin peppers in things like "that's what my dad used to say", and "ever since my father died..." all the while the camera is on Steven's face and he is starting to look troubled. We're also starting to get a better idea of their relationship, and it seems to be based on guilt. Steven invites Martin over to his house out of guilt, escalating the kind of present he's been giving him, first money, then the watch, now inviting him into his home. We see that Martin accepted in the next shot, where we see him, from a distance, at their door with a bunch of flowers. There's a slow zoom in on the house as Anna opens the door, like she's letting in more than just Martin. Along with the flowers, he has bought presents for Kim and Bob, ingratiating him with the family. He goes to hang out with the kids in Kim's room, smoking a cigarette because he's a bad influence, where she unabashedly tells him "I just got my first period". This again goes without any kind of reaction. Bob then asks to see Martin's armpit hair, because he's older than him. Martin pulls up his shirt to show him, and Bob tells him that his father is much hairier than him. Kim then tells him "you've got a great body", again with no reaction. This is so awkward, not just because of the dialogue and the delivery, but I think it really highlights how awkward those years can be. Kim and Martin go for a walk together, following them from behind in eerie silence. This silence is broken by Kim singing the song Burn by Ellie Goulding. She's stood in front of a tree while Martin is sat on the grass in front of her, watching her intently. The song has the line "when the lights turned out, they don't know what they heard" and "we're gonna let it burn", and the way that Kim is singing it acappella makes it sound so ominous, even though it's a throwaway pop song. Back in the house, with everyone gathered in the lounge talking, Martin drops in a few lines to needle Steven, "my mom hasn't made lemonade in a while" and "I don't like leaving my mom by hereself". Again, during all of this, the close ups are way too close, making the whole thing a lot more uncomfortable. Later that night Steven and Anna are getting ready for bed, and Anna asks him "how did his (Martin's) father die". Steven replies very quickly, "car crash, died instantly", and the camera lingers on Anna's face, a mask of doubt falling over it as she, and we as an audience, start to think that he's lying. Martin then phones Steven, at what seems like a disrespectfully late hour, asserting his dominance over Steven, which he has been doing very subtly since the start of the film. He invites Steven over to his house, as thanks for being invited to his, but he only invites Steven, and it isn't really an invite, it's a demand. We see Steven leaving the hospital, driving through the car park, where he thinks he sees Martin watching him, but, arriving at Martin's house, he denies ever being there. This is the point in the film where Martin really starts to shine as the antagonist, his manipulations and his brash openness about what he's doing and what's happening is truly terrifying. We then meet Martin's Mother (Alicia Silverstone). She seems over eager to have Steven in her home, and seems to be over eager to have him there, like Martin has told her that Steven wants to be with her. Martin insists on watching a movie, and when Steven declines Martin guilts him by saying "it's also my father's favourite movie, too". We cut to them sat awkwardly watching Groundhog Day, another film all about fate, and how inescapable it is. Martin goes to leave halfway through, and demands another hug from Steven. Martin's mother then starts to talk to Steven, saying how nice and clean his hands are, alluding to the start of the film, and how he has abdicated himself from any responsibility for her husbands death. She then starts kissing his hands, then she starts sucking on his thumb, at which point he bolts up and makes to leave. At this, Martin's Mother says "he wants this as much as I do", indicating that Martin has been talking about Steven to her as if he's a father figure, maybe his plan is to replace his father with the man who killed his father. Steven repeats that he's leaving, at which point I got a huge laugh out of Martin's Mother saying "I won't let you leave until you try my tart" which is as tragic as it is funny, as all throughout this scene Martin's Mother is painted as a very hurt, lonely, and emotionally damaged woman. Steven is walking through the hospital, again we're tracking him from a high angle from behind, the ghost shot. He walks into his office only to find Martin waiting for him, again asserting his dominance, since Steven told him earlier to stop meeting him there. Martin complains of some chest pains, so demands to be tested, knowing that Steven can't say no. When Steven tries to tell him that he's a healthy young man and will probably be ok Martin says "my father could've come out of that surgery alive, but he died", followed by a long slow zoom in on Steven's face. By now the audience should be in no doubt as to their relationship, and it's clear that Martin will take every advantage he can because of that. He is put through some tests, after which he is left alone in the office with Steven. Martin is shirtless, and asks to see Steven's body hair, to compare. He says please, but again, it's a demand not a request. Steven shows him, at which point Martin belittles him by saying he's not as hairy as he thought he would be, not nearly as hairy as Bob made out he was. He then starts talking about his mother, telling Steven "she's got a great body", the camera slowly zooming in on him as he says that, revelling in how uncomfortable he's making Steven. A hard cut to a close up of a fish being cut up by Matthew, a much messier version of the surgery scene that started the film, showing how messy the situation is getting. Steven and Anna are over for a barbecue, but Martin calls up, at which point Steven lies to him, saying he can't talk as he's busy at work. Matthew then tells Steven that he saw Martin at the hospital, but just ignored him when he said hello. Steven tries to play off that it wasn't him, because he told him not to go there anymore, but there is a clear look of unease on his face. He can't get away from Martin, he is the physical manifestation of fate. Back at his house Steven is sat in the lounge when Kim arrives home. She informs him that Martin bought her home from choir practice on his motorbike, but he couldn't come in because he was in a hurry. We then see Martin sat outside the house on his motorbike, watching them. This is a great shot, the slow pan around Martin on his bike revealing the house bathed in shadow, as the last light in the windows goes out, like the last bit of hope has left them. It's all downhill from here. The next morning Bob is in bed late, Anna says "he just likes lying in bed after he wakes up", but Steven seems annoyed, thinking he just wants to skip school. He marches up to his room, calling "Robert", and you know when a parent uses your full name you're in trouble. But when he gets to Bob's room he sees him just sat on the edge of the bed. There's a shot of Bob from just outside his door that slowly zooms in on him as he looks up and tells his dad "I can't get up". There's a real hopelessness in this delivery and the look on his face here, as well as Steven's reaction, like there's some realisation there that this is connected to Martin. We then get a montage of Bob in hospital getting all kinds of tests accompanied by a very creepy percussion score, again very much like Kubrick. All of the tests come back normal, so he is discharged, Steven trying to play it off as Bob being nervous about a test at school. As Anna and Bob leave the hospital we get another tracking shot, again like they're being stalked. The shot then changes to an overhead of them riding down an escalator, when they get to the bottom we have a total birds-eye view, the percussion building up a huge amount of tension until Bob collapses on the floor, very sudden and shocking, the music stinging when it happens. The camera stays in this distant overhead view, representing the helplessness that Anna feels in the scene, there's nothing we, nor her, can do. We get more scenes of Bob being tested, and cradled in bed by Anna. Meeting with the doctors, they say all of the tests are fine, and Steven again tries to play it off as nothing. We then see Kim riding around the city with Martin on his motorbike, the footage slightly slo-mo and ominous drum rolls giving a nightmarish quality to the scene. We get a close up of her face and there are tears welling up in her eyes. Perhaps her grief for Bob is pushing her towards Martin for comfort. She arrives home to find Anna watering the plants, Bob's job. This is what life is like without him. A low tracking shot of Anna and Steven walking through the hospital on their way to visit Bob. As they round his door the camera pans to reveal Martin already there. As soon as he enters the room Steven never takes his eyes off of Martin, wary of his presence. Martin demeans Bob, telling his parents "he wet the bed", again with no shame. As he goes to leave, he whispers in Steven's ear "come to the cafeteria today, don't stand me up" indicating that he has been trying to meet with Steven for a while, and has now had to resort to drastic measures. In the cafe, he gives Steven a present, saying as he passes it over "it's a Swiss army knife. I've just ruined the surprise". He doesn't sound at all sorry about ruining the surprise. He then says "I'm really sorry about Bob", which seems genuine. When Steven replies "it's nothing serious" Martin says "no, it is" and it is chilling, the way he's looking right in Steven's eyes, and saying it so coolly. He then goes on to explain to Steven that he has to kill a member of his family, just like he killed a member of Martin's family. If he doesn't do it soon Bob, Kim and Anna will all go through the same thing. First, paralysis of the limbs, then refusal of food to the point of starvation, then bleeding from the eyes, then death. If Steven doesn't kill one person, all three will die. After telling Steven all of this he says "there, I said it as quickly as I could, I hope I haven't kept you too long" like he didn't like telling him that. This brings up an interesting point about this film, is Martin the architect of this tragic fate, or is he just the messenger? We then get a slow zoom in on Steven's face, distorted, wavering strings representing his state of mind as he processes what he just heard. We then cut to Martin being escorted out of the hospital by security, he has now been marked as an enemy. Then we follow Steven as he enters Bob's room and sits on the couch at the back. The camera slowly tracks in on him as he's talking to Anna, pushing through the doorway as Steven gets up and walks over to Bob's bed, where we're now creeping up over his shoulder, another creeping ghost in the hospital. Steven then tries to make Bob eat a donut, to prove Martin wrong, but Bob refuses. At this Steven loses it and tries to force the donut into Bob's mouth. This scene was really uncomfortable to watch, as this parent, in trying to help his child, seems to be hurting him. He's in full desperation mode now. We then see Kim applying lip gloss and making herself pretty for Martin. They are hanging out in her room talking when he asks her "are you on your period?". She stands up in front of him, and we get the fly on the wall shot again as she uncomfortably strips to her underwear and lies prone on her bed, just like Anna does. Martin tells her "you're the prettiest girl I ever met", but this is without emotion. He then goes to leave right away, he doesn't need to do anything else, he knows he has her. Then we're back in the hospital. Shots of Anna and Steven talking to other doctors, telling them that the tests need to be redone and intercut with shots of Bob being tested, including a pretty grisly shot of some fluid being drained out of a nasty looking bedsore or something. I love how the sounds of the machines are mixed with the creepy percussive score in this scene. We then get another ghost shot following Steven pushing Bob down a corridor in a wheelchair. With a mixture of fatherly encouragement and frustration Steven picks Bob up and tries to make him walk, but his legs are useless so he just collapses in a heap. Steven tries this a couple of time, the drops getting more violent as his frustration increases. His anger at Martin is being aimed at Bob. He then tells him that if he's lying just to get out of school he will "shave your head and make you eat your hair". Which sounds ridiculous but in the moment you don't know whether to laugh or be shocked, because it's delivered as a serious threat, not a joke. We then cut to Kim at choir practice, singing Carol of the Bells, a really intense Christmas carol that's full of tension, which builds to a crescendo before Kim collapses in the middle of the group, her legs giving out from under her. A huge crash of the piano mirroring her fall. We then cut to Anna who is obviously riddled with grief, the biggest show of emotion in the film so far, signifying how much of a toll events have had on her. We then cut to a close up of Kim in her hospital bed trying to eat a tiny slice of apple. She is clearly uncomfortable with this, struggling to chew, and our close proximity to her makes it all the more uncomfortable, we're able to feel her unease clearly through the screen. We then cut to a ghost shot following Steven driving in his car. There is complete silence here, indicating his total focus on what he's doing now. We see him waiting outside Martin's house, mirroring Martin waiting outside his on his motorbike. Steven is trying to go on the offensive, but it will all prove futile, his attempts impotent. He marches up to the door, pounding it, demanding to be let in, but there's no answer. Steven can't find any answers anywhere. He screams at the house "open the door or I will smash it down and fuck you and your mother like you wanted", even though it's a threat, he's still offering to give Martin what he wants. We then see Anna talking to Steven, she discovers that they have been meeting for six months, because he felt sorry for him. Anna then asks about his father, who died under Steven's scalpel. Steven insists he has no part in his death, telling her "a surgeon never kills a patient. An anesthesiologist can kill a patient, but not a surgeon", again keeping his hands clean. She asks if he was drinking that day, and he tells her no. We then cut to Steven standing in the shower, not washing himself, just letting the water wash over him. We then see him sat in a chair, naked, pathetic. He is totally vulnerable and has no idea what to do, so he does nothing. In the hospital Anna is with Bob and Kim, who are sharing a room. Kim asks to be turned on her side, and Anna turns her away from herself and Bob, symbolic of how she's turned away from her family for Martin. Martin then calls Kim, we see him far below in the car park, looking up at her window. How long has he been there watching? While they are talking Kim is able to stand up and walk over to the window. Bob is jealous of this, and tries to get out of bed, but face-plants straight to the floor. When Martin hangs up the phone Kim loses feeling in her legs again. This convinces Anna that Martin is behind it all, takes away her phone and tells her not to talk to him anymore. Kim says, under her breath "fuck you", the first proper conflict between mother and daughter. She then goads her mother, saying "you won't be able to move either, but you'll get used to it", a line all about fate again. Things are gonna happen, just get used to it. We then see Anna in the lobby of the hospital, not moving, as if she's trying to imagine what it will be like. Anna then visits Martin at his house. He is a slob here, dressed in a dirty t-shirt and boxer shorts, eating a big greasy plate of spaghetti, sauce all around his mouth. All throughout this scene he's playing with his food, the way he's playing with her and her family. He mentions how "all doctors have clean, nice, beautiful hands", referring to Steven not taking responsibility for his actions. There is also a great line about Martin's father, and how they both eat spaghetti the same way, but it turns out "everyone eats spaghetti the exact same way, exact same way, exact same way". No matter how special you think you are, you're just the same as everyone else, and there's nothing you can do about it. Fate. The repetition also reinforces the idea that no matter how many times you try to change things, you can't. We're then in the hospital, where we see a big important table with important looking people sat around it. We see this from the outside, so can't hear them, but from Steven's body language you can tell what they're saying. They've done all they can for Kim and Bob, there's nothing more they can do. This dead end leads Anna to try to find out more about Martin's father. To this end we see her at a diner, not the same one that Steven met Martin in, to meet Matthew. He says "an anesthesiologist is never to blame..." reversing the sentiment Steven had earlier. He reveals, in return for a handjob, that Steven was drunk when he operated on Martin's father, and so is to blame for his death. The frantic yet detached look on Anna's face as she jerks him off really shows you how she's feeling about this revelation. We're now back in the house, Kim and Bob sharing a room that looks like a hospital room, matching the already sterile nature of the house. In the kitchen Anna is watching Steven as he makes bland conversation, like everything is back to normal. He talks about going to the beach, and mashed potatoes. Anna coldly says to him "you have beautiful hands...nice and clean", in such a way that accuses him. While she's saying all of this the camera slowly pushes in on her, forcing Steven out of the frame, like he has no answer to her accusations. He becomes angry at her, and starts trashing the kitchen looking for teeth and pubic hair to make a magic potion, mocking Anna's insistence that there is some other force behind this because he is still unwilling to believe that these things are out of his control. He's a man of science, there must be a reasonable explanation to all of this. He ends his tirade by saying "we don't have any of the things we need", which is ironic in their perfect home. In the bedroom Anna is lying in bed with her back to him. He is now docile and apologetic, his rage earlier all pointless and impotent, like when he went to Martin's house and threatened him. We then see him stood in his darkened house from the outside, a look of grim determination on his face. He has to do something now. He leaves the frame, and the light turns out, signifying the end of a chapter and the start of a new one. There's a sharp sting of strings as Steven wakes Anna the next morning. He tells her to come to the basement. The basement is dark and bathed in a dark cold light. It doesn't look dirty, but it feels dirty in comparison to the rest of the house. Here we find Martin, beaten to a pulp and tied to a chair. Despite this he seems calm, almost relaxed. He's not gagged yet he doesn't shout for help. He knows he's still in control, despite what things look like, and we feel that too. He is still the dominant one in this relationship. He bites Steven, and then bites himself even harder, taking a chunk out of his arm, which he spits on the ground. "Do you understand? It's metaphorical" he says. An eye for an eye, and also, there is nothing that Steven can do to Martin that he wouldn't do to himself. Again, Steven is left impotent, he has no control, there is nothing he can do. We then see Anna washing the blood from the boot of Steven's car, making her an accomplice. Some discordant strings start to play before they are broken by a gunshot. She rushes to the basement where Steven is threatening Martin with a gun, but Martin is still unfazed. He tells Steven "if you're gonna dig a hole in the yard you better make it a big one", and here's where Steven starts to believe him. He won't take the risk of losing his family, even if he never believed in curses before. There are some jarring piano chords that accompany this, mirroring his broken state of mind at this point. Up in their room Kim and Bob are hanging out. Kim knows that her father didn't just kill Martin, saying "it would be like killing four people with a single shot. Wouldn't that be tragic?" The kids have accepted their fate. They know that one of them will die. Kim shows that she thinks she'll live by saying that she's going to live with Martin. She's also taken up smoking, he's having a strong influence on her. Bob shows that he thinks he's going to live by saying "they bought me a piano", implying that he'll live long enough to learn how to play it. Kim then bluntly asks "can I have your mp3 player when you're dead?" I really like that they're having a classic sibling rivalry game of one-upsmanship, but it's about who their dad is going to kill, it makes the situation even more horrific by bringing some humour into it. We then get a really creepy shot of Bob crawling through the house on his stomach, dragging his useless legs behind him. There's an unsettling silence apart from the squeak of Bob's body against the wood floor. He finds some scissors and cuts off of his "beautiful" hair as a sacrifice to try and save himself. We then see Steven in the kitchen, his hands shaking as the weight of the situation constantly pushes him down. Bob crawls up to him to show him his haircut "dad, look" it's like he's making his case to not be killed, showing what a good son he is. He then says "I'm gonna water the plants now" and goes to crawl off again before Steven stops him. We then cut to Steven in the yard in the dark and the rain crying, his knees pulled up to his face. He has now realised that he has to kill one of his children, but has no idea how or why. We then see Steven in his kids school, the camera ghosting behind him again. He is meeting with their headteacher, who mentions an essay Kim wrote on the Myth of Iphigenia by Euripides, the ancient Greek myth on which this film is based. Steven asks the teacher "do you especially like one of them more than the other", and we realise that he's here trying to find out which of his children is the "best", and which one to kill, which is incredibly dark, but this scene almost plays like a comedy. Steven is looking for answers anywhere he can, there weren't any at the hospital, so why not check the school? The scene ends with the teacher telling him "I don't know what to tell you" while the camera fixes on Steven's face as he finds another dead end. Then we get a real creepy visual of Kim crawling down the stairs, really reminded me of The Exorcist. She is there with Anna, who is carrying Bob, and they look really tense and fearful, like they're going to confront a beast. Anna dresses his wounds almost reverentially, as if that would make all of this go away. In this same vein she then bows down and kisses his feet. Martin is unresponsive to this, it's all too late. He simply and coldly tells her "the boy's about to die". In their bedroom, Anna is trying to get with Steven, maybe feeling guilty for kissing Martin's feet. She tries to kiss his "clean" hands, no response. Like at the start of the film she strips and lays on the bed for him, he just turns out the light. They start talking and come to the conclusion that the only logical thing to do is kill one of their children, they're still young enough to have another. This is one of the most chilling scenes in the film for me, now that they've reached a point where they have no option but to face up to fate they become cold and logical, eschewing emotions for equations. Maybe that makes it easier to deal with. We then see Kim, on her own, crawling down to Martin. She offers herself to him, wanting to run away with him, but he rebuffs her. He doesn't want her now he has her affections. Realising this, she tries to run away on her own, but as she doesn't have use of her legs, can only crawl slowly away. Steven and Anna go looking for her, Steven walking in front of the car through the almost pitch black streets like he's walking into the unknown. They find Kim on the sidewalk, her knees bloodied from crawling on concrete. At home, while tending to her wounds, Kim gives a creepy speech about how she should be the one to die, how her father bought her into this world and it's only right he take her out of this world. This might be a ploy to gain her father's sympathy after her running away plan failed, but it also may be her accepting fate too, even welcoming it. Cut to Anna in the kitchen the next morning. The daylight looks washed out and weary, the whole picture is depressing, Anna's face is tired and she looks like she's given up. She reveals to Steven that she let Martin go. There was no point in keeping him prisoner, it wasn't going to change anything. She too has accepted fate. In the next scene Anna is with the children in their room. She is washing Bob's legs while Kim tries to apologise for her rudeness in the hospital. This doesn't get a response for Anna, so Kim asks her "do your legs hurt? does your back hurt? has it started yet?" which causes Anna to slap her. There is a great look of "fuck you" on Kim's face after this. The next scene starts with a close up of Anna sleeping, which pulls out to reveal Steven stood over her watching. It's like he's looking for answers anywhere, maybe in his wife's sleeptalking even. We then get a close up of Bob, whose eyes become literally bloodshot, before they start bleeding properly. Kim sees this and calls out "Dad, quick. Bob's dying", but it's not a shout of worry, more like anticipation. The time has come. We then see Steven tenderly wiping the blood away from Bob's eyes, and the look on his face here is heartbreaking. It's almost like he's already saying goodbye. This whole scene is horrific, and I don't even have children. I can't imagine what a parent would feel watching this. We then cut to Anna in the bedroom. Steven enters and says "come to the living room". Anna asks where the children are, and he replies "they're already there" with an air of finality. Anna, realising what's happening, says "I think I'm gonna wear that black dress you like", like she's attending a funeral. The scene ends with Steven leaving the warmth and light of the bedroom, to the darkness of the hallway, Steven has entered the dark place he needs to go to in order to do what he has to do. We then cut to the living room. Bob is bound and gagged sat on the sofa, blood streaming from his eyes. We also see Kim and Anna, both tied up like Bob. Steven enters and places bags over all of their heads. No one protests. They all know this has to happen and they have given themselves over to it. This is the only thing they can do. This is their fate. The music rises to a maddening pitch as Steven pulls a woollen cap over his face and starts spinning in a circle with a loaded gun in the middle of the three. I love how the music breaks before he fires the first shot, so you're not ready for it and has a much greater impact. It's a miss. Steven didn't hit anyone. He pulls the cap back down over his eyes and does it again. During this there's one single sustained note representing our tension. He fires a second time. Another miss. The note gets higher and higher as he spins for a third time. He stops facing Bob for half a second, like he could see him, before he shoots, hitting Bob and killing him. Silence follows, almost a relief washes over the family as fate has been satisfied. Steven almost looks like he's glad it's all over. The scene ends with a slow zoom in on the dead bob, bag still on his head, blood slowly trickling from the wound in his chest. The sacred deer has been killed. An unspecified amount of time later we see Steven Anna and Kim at the same diner where Steven used to meet Martin. Martin enters in slo-mo, all attention on him. He has no shame. He walks past the family, who all look away, as if they are the ones who are shameful. He sits at the counter, as we get a close up of Kim squirting ketchup on some fries, the same fries that are Martin's favourite. There is evil sounding choral music as the camera slowly zooms in on Martin, who is openly watching them. It's like they've come here to show him "look, we did it. We did what you wanted". They get up to leave without looking back, except for Kim. She looks back at Martin and almost smiles. He still has her. The film ends with Martin watching them leave. He isn't happy about what happened, it was just something that had to happen, and his face betrays no emotion about anything that just happened. Well, there we go. I absolutely loved this film. Right from the opening shot of a real heart I was hooked. I get that it isn't to everyone's tastes, but to me, this is everything cinema is about. The film looks gorgeous, the direction adds to the story without being too flashy, the acting is fantastic, if very idiosyncratic, and the story had me on the edge of my seat and as tense as any film I can ever remember. This is an uncomfortable film about not very likeable people having horrible things happen to them. It's bleak, miserable, and utterly brilliant. And that's why it's a 10/10 @Spinnaker1981
  37. 1 point
    Our latest software update for PlayStation 4, version 7.00, is launching this week worldwide. This update includes new functionality to key system features including Party and Remote Play features. We revealed a number of features included in the newly enhanced Party prior to its beta earlier this summer, and here are all of the details that PS4 players can look forward to experiencing. Party Feature Update For PS4 fans who love to play alongside their friends or other community members, the Party feature has been rebuilt to include new features and services including: Maximum number of Party users increased from 8 to 16 Network connectivity improved Audio quality improved Accessibility support with Chat Transcription has been added (US Only) Within the Party feature, you will experience better network connectivity and audio quality. The improved back-end now improves network connectivity and allows users to overcome connectivity issues previously experienced when connecting with other users. Lastly, the Party App will also offer a new Chat Transcription feature for US users via the PS4 Second Screen App on your smartphone or other mobile devices. The new feature supports US English and converts party voice chat to text, or enables you to enter text that is read aloud to other party members. If using your mobile device to connect to your PS4 during a Party, you will now see a new Party tab has been added where the new functionality is available. Remote Play For those who want to stream select PS4 games on mobile devices, Remote Play can now be used on smartphones and tablets running Android 5.0 or higher. Just download the PS4 Remote Play App from the Google Play store to use the feature. Meanwhile, for iPhone or iPad users, the Remote Play App has been updated so you can now display the controller at all times and lock the screen orientation. Also, players will be able to use their DualShock 4 wireless controllers via Bluetooth for Remote Play on an Android, iPhone, iPad, and Mac. All you need to do is update to Android 10, iOS 13, iPadOS 13, or macOS Catalina (releasing in October) to use this feature. As a reminder, a PS4 system with a wired connection via a LAN cable is recommended. What are looking forward to most? Let us know in the comments below! View the full article
  38. 1 point
    Thos is good news. A bit late, but good news.
  39. 1 point
    Loved the first season. Haven't got around to watching season 2 yet, but I'm looking forward to it.
  40. 1 point
    Ok, this is not horror is it? I enjoyed it. Its a pretty cool vampire movie. I do believe there are better Vampire movies out there, but this one is a simple teenager movie about Vampires, with a tiny bit of gore in the final fight, but nothing much. The music is pretty cool and the final phrase is also pretty funny. Nothing special or very serious, all very light and you can see it coming for the entire time. They could´ve made the plot a bit twistier, but when Max asks to be invited, then you are sure what he is and no surprise in the end... its a or a 3.5/5 watchable, but not amazing.
  41. 1 point
    Glastonbury 2020 is on! 11 of us managed to get tickets so that's a new record for the group.
  42. 1 point
    What about Saturday the 19th Two Bros time slot?
  43. 1 point
    I will say more about it later, let others watch it, but not even the metaphoric view of it makes any sense to me...
  44. 1 point
    I don't want you too. I like that the two scores for this so far are 10/10 and 1/10, and that's why I love this film
  45. 1 point
    Sorry, but I am not sugarcoating it just because you liked it...
  46. 1 point
  47. 1 point
    I am 20 minutes into this and I already despise everyone of them.
  48. 1 point
    Yeah that was a blast. Speaking of laughs...
  49. 1 point
    Bravado Gauntlet Hellfire
  50. 0 points
  • Create New...