Comes Invasion, the new DLC for COD: Ghosts

Piece by piece, is to complete the picture of downloadable content dedicated to Call of Duty: Ghosts : Invasion is the third fragment, preceded by Onslaught and Devastation, and later followed by Nemesis.

Of course, included in the Season Pass of the game, Invasion takes the formula of the previous content, offering four new maps and a new episode of unpublished narrative line mode applied to Extinction.








Departed, the first map takes place in the middle of Dia de Los Muertos in a Mexican town: in a riot of colors and many small buildings can wander the Death Mariachi, killstreak on the map, ready to turn enemies killed in temporary teammates .

Pharaoh, however, the door in the middle of an archaeological excavation in an Egyptian palace, complete with crumbling steps, carnivorous beetles and fighting at close range. Anything theme, however, for Mutiny, set on a Caribbean island that lies a den of pirates who could make their appearance in the form of ectoplasm.

Favela, finally, is a redesign of the famous map of the same name present in Modern Warfare 2, with a little 'of changes from the past and a warplane ready to rain death from the skies.

The Importance of Left Behind

I spent Valentine's Day to play Left Behind and, with tears of emotion and makeup that was dripping on her face, I accommodated close to my better half, intent on retracing all the way. It is an experience out of the ordinary, destined to change forever the way I relazionerò to the game itself. No interactive work, previously, had been able to range from joy to pain, treating each emotion with all due respect. And that makes me think.

 

I know: I am a person mostly rational, detached. But, this time, I will throw an exception. 

 

Statistically speaking, if the data in our possession will not err, you, dear reader, you're certainly not a young teenager and you've long since passed the humoral disturbance. Left Behind focuses on this aspect, catapulting him into an apocalyptic context. Describe the swirl, the alternation of fear, frustration and inner conflict, is not easy. Try to understand who you are, in a body that changes, bombed by the hormonal upheavals, and see your childhood fade away gradually. Even friendships, even those long-running, change, evolve rapidly. And the interpersonal ties are the heart of Left Behind.

 

Clearly, there is chemistry between Ellie and Riley, have grown up together, until life is not separated them: the first one has found asylum in the armed forces, his girlfriend, on the other hand, among the ranks of the resistance. Yet, when their fate is intertwined again, the dialogue is resumed from where it was interrupted, in a continuous exchange of words, the daughters of a rebellious spirit and indomitable. Riley pushes Ellie to visit the abandoned shopping center, one of their shelters.

 

Along the way, you can hear distinct echoes of childhood, the carefree jokes, clashes with water pistols, the desire to make fun of everything and everyone, adults first and foremost, with their endless nagging. Bittersweet nostalgic memory, remembrance in a past that will never return. Riley hatching a secret and has no idea how to confess, is considering to take to the bush, vanishing like a shadow. Growing up is painful, is not easy. The scene in the games room makes this clear, in no uncertain terms. As Ellie and her partner will insist on chasing the best years, with a ride on the carousel horse or a shot in the memory of the passport photo booth, anxiety pervades. 

 

When Riley spills the beans, a conflict arises, the typical adolescent skirmishes. Sale anger, you lose control and eventually, without wanting to, you end up hurting the next, throwing to the wind the words of which we repent at once. Ellie, despite himself, he tries to give form to his grief, he's afraid of losing a loved one, you can rely on. And he can not control his emotions.

 

 

Unforgiven in "Japanese"

Presented last year at the Film Festival in Venice with samurai instead of cowboys, Unforgiven ( Yurusarezaru mono in the original) is the Japanese remake of Unforgiven , Clint Eastwood's western masterpiece which won four Oscars in 1992 that the Japanese-director Korean Sang-il Lee wanted to pay homage with great fidelity to the original model.

We do not know yet if we will see the film in Italy, but in the meantime, we propose the trailer subtitled in English, which indeed suggests a very faithful remake of the classic Eastwood. Unforgiven, starring, among others, Ken Watanabe ( The Last Samurai ), it is expected later this month in UK theaters and harbors the hope is that sooner or later in our cinema.

 

The new RoboCop is not bad!

RoboCop (USA, 2014)
by José Padilha
with Joel Kinnaman, Gary Oldman, Michael Keaton, Abbie Cornish, Jackie Earle Haley

I showed up in the hall, on Wednesday afternoon to shoot this new RoboCop with a desire to try to look at it with a clear head without bias, hoping to find not so much a carbon copy of the original, as something that was able to actualize and reinterpret the themes and ideas according to different feeling. Which is what you should always do a remake, for as I see it. I tried to shake off the injury and the fear that, despite the folds of the trailer s'intravedessero the right cues, albeit hidden behind unpromising aspect, it would be coming off a stuff inconsistent and without direction on the style of Len Wiseman's Total Recall . All this, yet having in mind how much I love the original Verhoeven, really one of my top ten films of life, and not forgetting the two botched followed, since I had covered all the three previous days. I introduced myself as well, with an open heart and without defenses, trying. And how was it? She went after the first twenty minutes or so, let's say until you see the title, I could not believe my eyes and I thought, "Oh, but it turns out that this movie is a bomb?". Continued that then I'm back on planet Earth, and there were some problems, but always in the context of a film that I found very successful. It's over that I left the theater satisfied, breathing a sigh of relief for the bullet dodged. immediately I did not write this article, I had to let it rest a bit 'in the stomach. I chatted briefly, a voice and here and there on Facebook. Meanwhile, inevitably, check the reviews I've seen around the net, in essence split on two fronts: those who have loved, someone with strength while not daring to feel it comparable to the original, and those who hated it. Eh, well, there is little to do, I'm in the first group. I read the positive reviews and I seem to be talking about the movie that I saw. I read the negative reviews and I think they're talking about the injury of what I was afraid of finding myself in front of the cinema and on the other hand I have not seen. In the end it is also normal, they are opinions, but so be it: for me, this is a good movie and a good remake, intelligent, who commits his mistakes but at least is not afraid to try, to say and do something, but not limited the homework licked and devoid of soul. RoboCop The Paul Verhoeven is something incredible, unique, untouchable, a smoothie timeless style that has never been possible to follow up and to whom, background, does not make sense to confront. The RoboCop José Padilha is a film that has the wisdom not to try to mimic that approach so special and that perhaps only Verhoeven is really able to run, but recovers the themes, concepts, ideas and try to update them , rework them, lead them through different paths and propose them filtered by a different vision, without refusing to pay homage to the founder in several ways. 's a wonderful movie? No. Is it a good movie? Yes Do you have any problems? Yes, definitely yes. It is a remake decent and not offensive, which indeed has something different to say about the same topics? Oh, what can I do, I think yes, but just without the slightest doubt. Was it needed? But that idiotic question, come on. Anyway, yes, there was no need, either because today these issues are present more than ever, you want because in the end there is always a need for films that try to move between the constraints of Hollywood today to say and do something interesting . Then, of course, it's easy to hate him. And it is easy to present to the cinema willing to accept that that will be screened only if by mistake the projectionist had to tuck in the 1987 film projector. Why then the fact is even a little 'what if you are looking for a movie of the incredible level of that guy, if you hope to find the violence of an R rated movie of 1987 in a PG-13 movie of 2014, if you are willing to accept only and solely the tone, personality and approach schizoid Verhoeven, well, yes, it is likely that this RoboCop makes you shit blood. But, come on, admit it: a little 'you look for it, if you go to see him in the head with those claims. This means that anyone who has not loved or hated the new RoboCop understands nothing and is only based on prejudice? But no, let alone, God forbid. But, behold, if the problems are, have patience, and thanks to ...

The opening of the new RoboCop is amazing. Come on, at least this concedetemelo, you who have hated and you are there to read me and give me an idiot not understanding nibbling at his desk. It is amazing to effectiveness in the staging, for ability to rework ideas and themes of the original film in a new way and ideas which go to pay homage to what they all want so much. The Omnicorp / OCP is proposed with a reversed perspective: while in the original film aimed to privatize the police as a dress rehearsal for the real bang then privatizing the military, where it has already taken control of the war around the world and strives to be finally putting their hands on the cash U.S. law enforcement, but they are denied the public opinion. The robots, drones current developments without hearts that are shipped to distribute democracy around the globe, have almost completely replaced the human factor in the army. And all of this is explained by Samuel L. Jackson, conductor pro-robotization of a talk show that looks like it came from Fox News for summary, opens the film and then come back a couple of times. From there you go to a demonstration of how well they are bringing robots areas "delicate" of the planet, in a not too distorted vision of what America is today. In these first few minutes is all well and good that the new RoboCop tells of did the same things in their own style, but did not make a satirical parody throw it on the drive and trying to put the laughter between the cracks of a serious tone, dramatic and convinced . There are the wonderful advertising Verhoeven and there is no news so over the top, but there is a meeting point between reality and fiction that of the chilling. TV - and, consequently, the company - told by Verhoeven was a wonderful and absurd parody of what was already a reality and today, in the real world, has reached and exceeded the level of his taking the piss. The television program of Samuel L. Jackson would just laugh if it were not that it is perfectly believable, as are its arguments and what is shown in Tehran. And it all ends with the theme of Basil Poledouris used to launch the title of the film and at the same time act as a symbol to the talk show, recovering for a moment that irreverent spirit here that will prove to be not at home, but that pays homage to the tone of ' original. And I'll admit, at this point, I was seized with chills and almost did not believe it. Unfortunately or fortunately, the film then goes down, yet it remains good for many reasons, mainly because it is a film that tends to exploit similar starting points and then go to mind his own business.

Who will be the new Invisible Woman?

A few days ago I started to Los Angeles for the screen test the next reboot of the Fantastic Four , which will be directed by young talent Josh Trank ( Chronicle ).

For now they are the names of Christian Cook ( Romeo and Juliet ) for the role of The Thing and Miles Tellere ( The Spectacular Now ) for Mr. Fantastic, Invisible Woman while for the Kate Mara would be vying for House of Cards (first photo below) and Emmy Rossum, resounding in the shoes of Fiona Gallagher in the TV series Shameless (second photo). Who would you see better in the role of Susan Storm sexy?