Friday, September 15, 2017

MadCap's Game Reviews - "Yu-Gi-Oh! The Falsebound Kingdom"

...what the hell is it with Yu-Gi-Oh! games that have nothing to do with the actual Yu-Gi-Oh! card game?

No, seriously. This isn't a joke. What is it about the game that all of two of the games based on it that I've reviewed have anything to do with the actual card game? And only one of those games have actually gotten it right? For some reason, the thrilling fourteen episode-long card game matches are just not appealing enough to children of the early 2000s, and thus we come to yet another game The Falsebound Kingdom.

In the beginning, you get two protagonists to choose from - the two greatest super special awesome mega maxi awesome badass duelists ever to duel their way around a Duel Disk, Yugi Muto and Seto Kaiba. However, much like the end of Season 1 and the Virtual World arc in the anime, victory shall not be determined by bullshit main character powers to give them exactly the right card at exactly the right time...but by their skills in video games!

...actually, it's more like Capsule Monsters. Anyone remember that?

I mean, besides LittleKuriboh?

Trapped in the virtual world by the totally not evil Scott Irvine...who is definitely not being controlled by the evil DarkNite (who is totally not the dumb mask-wearing former Hogwarts roommate of Voldemort), either Yugi or Kaiba must gather together the greatest forces that they can muster in the form of the iconic monsters from the game. But rather than the traditional dueling, as was previously described, they put to use the monsters...in a style similar to Pokemon. But it's triple battles galore here, with Yugi, Kaiba, and all of their cartoon pals controlling up to three monsters in various scenarios.

And yes, the plots for both Yugi and Kaiba start out differently, but end up in the same endgame of fighting their way into the heart of the virtual world and facing Scott Irvine and DarkNite...and claiming either Silfer the Sky Dragon or Obelisk the Tormentor depending on which campaign you picked! But that's not even the fun part! Finishing one campaign is one thing. Finishing two campaigns is another...because then you unlock a special mini-campaign with Joey Wheeler as the lead!

...oh. Goodie. Joey. Because that's who we want to play as. Joey.

Beating Joey's game unlocks the Winged Dragon of Ra.

My Pokemon comparison isn't without merit. Beyond just the style of battle, the monsters have their hit points, attack and defense stats, and even action points. Monsters who have a color closer to the color of the character who commands them will be stronger as well, although a monster's color will change if they're used repeatedly by a certain character. Along with these, there are also RPG elements like settlement fortification, the characters working across a map in each scenario and either besieging or taking over fortresses of all sorts to fortify their position.

That's right, it's a real-time strategy game. My faaaaaaaaaaaavorite...

Seriously, can't I just challenge him to a children's card game?

Mechanically, the game isn't bad. It does what it sets out to do. But for the Yu-Gi-Oh! series, it just feels like an odd duck.  This is really the most not at all Yu-Gi-Oh! product that I've ever reviewed for the series thus far. It's understandable why it didn't get good reception upon release, IGN in particular only giving it a 3.5 out of 10.

While I respect what Konami was trying to do, I really don't understand why. It's not really for fans of Yu-Gi-Oh!, and making it exclusive only to the Gamecube couldn't have possibly helped matters, either. It's...an odd duck. Give it a different name, make it a new IP, it might have gone somewhere. As it stands, it's just...confusing.

Yu-Gi-Oh! The Falsebound Kingdom was developed and published by Konami.

For the latest from the MadCapMunchkin, be sure to follow him on Twitter @MadCapMunchkin.

Friday, September 8, 2017

MadCap's Game Reviews - "Guardians of the Galaxy: The Telltale Series" (Episode 3)

Sailin' away
on the crest of a wave
its like magic!

Rollin' and ridin'
slippin' and slidin'
its magic!

Episode 3 of Guardians of the Galaxy: The Telltale Series - "More Than a Feeling" - continues on in the epic tale of the Guardians from a continuity that is not entirely discernible as they follow the trail given to them by the Eternity Forge in the last Episode. However, if the title card isn't an indication, the episode also deals with the relationship between Gamora and Nebula as well as their relationship with their adoptive father Thanos, much as Episode 2 focused on Rocket and his backstory.

However, this is blended together well with the quest for the mysterious voice that's been calling Peter Quill to the temple, as well as some explanation about the Eternity Forge from a source that will be very familiar to anyone who has seen Guaridans of the Galaxy Vol. 2. With the Kree still at their backs, the Guardians are split once they learned that taking the Forge to the temple where it was made can either empower it to bring back anyone who has ever died ever...or destroy it and keep its power from being used by less than appropriate hands.

Naturally, especially given both the backstory of Drax the Destroyer and the revelation about Rocket in the previous episode, the Guardians are effectively split down the middle as to what to do with it. Either way, because it's Telltale, the story has to progress...although, from the looks of the ending, your choices may very well matter for the first time ever. We'll have to wait until Episode 4 to see the full, if any effects...though I will admit, I should have seen the ending coming.

The flashbacks to Gamora and Nebula's last mission together do a lot to develop their characters in a similar way to how it did in Vol. 2. Depending on player actions (and, I'm happy to say, statistics show most people are not hilariously sociopathic), Quill can either help them mend that relationship or see it split apart.

On the whole, it's definitely not bad, but it suffers the same problems as the previous two episodes - namely the interface with point and click and the quick time events. Given that these are both hallmarks of Telltale, it's a little hard to call them criticisms, though I do find having to stumble around looking for the one thing I'm supposed to activate in a scene to become rather tiresome, and QTEs...well, there's a few anti-frustration features where only a few of them result in you having to restart a sequence, which is nice.

So, it's still somewhat irritating mechanically, but there was more substance to get me interested in the story again, which is really all I can ask for.

Guardians of the Galaxy: The Telltale Series is now available from Telltale Games for Android, iOS, Microsoft Windows, Playstation 4, and Xbox One.

For the latest from the MadCapMunchkin, be sure to follow him on Twitter @MadCapMunchkin.

Friday, August 25, 2017

MadCap's Game Reviews - "Batman: Arkham Knight"

...so, remember when I reviewed video games? Fun times, right?

I joke. I've been hard at work in the real world with my job, though that doesn't mean I haven't been very active on Twitter. Which I have. One such activity has involved me mentioning various facets of this game, Batman: Arkham Knight...in particular, the Riddler's constant irritant, but I'll burn that bridge when I come to it. I've also been gearing up for October, wanting to make up for my absence of content with much, much more for Horror Month 2017...whether or not that manifests, we'll see in the October still to come.

But it's rather fortuitous that this is the game to get me back on track for game reviews, given that information, because Batman: Arkham Knight is a game all about fear. Batman himself needs no introduction, though the same cannot be entirely said for the main villain of the piece: Scarecrow. Jonathan Crane, a scientist who wanted to learn all there was to learn about fear, and the only individual in this or any comic book universe who is able to pronounce 'b's and 'p's without possessing any lips.

Truly, the greatest superpower of all.

But it seems that, on a Halloween night some nine months after the events of Arkham City, Scarecrow has issued a warning that Gotham will be gassed with a brand new form of his fear gas...and the entire city evacuates.

Overnight.

What a remarkable coincidence.

Of course, this evacuation has a simple reason: to keep the player from feeling like a total psychopath for charging around the streets of Gotham in the Batmobile. And yes, the Batmobile finally makes its appearance straight out of the Christopher Nolan films (depending on the skin you choose for it). And before anyone jumps down my gullet, the thing controls like ass!
OHHHH MY GAWD! WHAT'S WRONG WITH YOUR FAAAAAAACE?!?!?!
I wouldn't mind it, expect Rocksteady was clearly very proud of this, putting in races, using it and puzzles, and bringing vehicular combat and it just...sucks. And that's a shame, really. Changing direction at high speeds is next to impossible, and the streets of Gotham can be very twisty at points. Eventually, you do adapt to it, but the gratitude you have for a "battle mode' to reorient yourself is lost when Firefly escapes for the fourth time and you know you'll have to eventually drench a firehouse and listen to Crispin Freeman mugging at you like a jackass yet again.

But the main story involves Batman trying to hunt down and stop Scarecrow's latest plot. However, it seems that he has a tag-along with him this time, the Joker as once more voiced by Mark Hamill. Much like the original Scarecrow sections in Arkham Asylum, the Joker's presence adds to the screwing with reality in several sections of the game as we're never completely clear for most of it if what Batman's perceiving is, in fact, real.

Also, as if the plot were not already lengthy and convoluted enough (and it is), Scarecrow is insisted in his endeavor by an army of hired guns led by the mysterious Arkham Knight. The Knight is an enigmatic figure who is both well trained and equipped, having a deep knowledge and hatred for Batman that has driven him to go to any leng-it's Jason Todd.

Yeah, no. It's Jason Todd. I really don't know who Rockstead thought they were going to fool on this one.

It's not even a particularly clever twist either, given how Batman can't figure it out even with the Joker basically spoonfeeding him flashbacks to Jason's torture and eventual "death" at his hands. World's greatest detective my pasty white rear! Though it's a little strange seeing as, unlike the DCEU films, I don't think the Arkham series has made even a passing mention to Jason Todd before this point. Correct me if I'm wrong but, like with Batman: The Animated Series in the 90's, I'd assumed that Jason had just been quietly swept under the rug.

The line of progression for Robins went from Dick Grayson (now Nightwing) and then to Tim Drake, and that was it. If he was mentioned, I don't remember it. Not that it's so much of a continuity issue and it's something I can look past. My main question is why they didn't just have him as Red Hood? It's not as if the "shocking twist" is actually that big of a deal, and the reason why he took the alias of the "Arkham Knight" is...kind of just ignored. The title could just as easily to refer to Batman himself and indeed could have just to keep the series naming convention.

Other than that, there isn't too much to say. It's fun to ride around Gotham and totally not send criminals to an early grave by vehicular manslaughter (they're just sleeping, honest!). It's irritating to have Riddler somehow having hacked into all of Gotham's loudspeakers being a man desperately beginning for someone to knee him multiple times in the groin. It's nice to get a final word on the Arkham Universe even if I think it's a little premature to call it quits after four games. Still, it's better to go out on top, and I would say that Arkham Knight is definitely that.

"Never ending Baaaaaaaatman! Da na na na, na na na, na na na! Batman!"
Arkham City would have likewise been a fine place to stop, but it didn't really feel like an ending. Just an ending to the long battle between the Batman and the Joker, and the realization of how they were two of a kind, in their own twisted way.

Knight gives more finality. It introduces and then wraps up the storyline for Jason Todd, lets Batman say goodbye to his sidekicks, supporting cast, and even his villains, as his final nigh...oh, yeah. Spoiler alert. Batman's identity gets revealed to the world by Scarecrow and he and Alfred potentially die.

Maybe.

It's unclear.

If you get the 100% ending, you get a weird bit where a demonic-looking Batman takes out two thugs in an alley...but I didn't get the 100% ending, seeing as the ending where Wayne Manor blows up makes more sense in my head.

Also, despite his compensation issues, if I ever go solving all of the Riddler's riddles, it'll be by accident. Like all the Arkham games and the Batman mythos in general, he's just...really, really annoying. Why Bats doesn't out gadget him and beat the snot out of him, rather than play his really rather stupid game is beyond me.

So, in short. Good game. The combat is good, the gadgets are as fun as ever. The story is even good, even though it's a hodgepodge of a bunch of different Batman stories across multiple forms of media, though that works in its favor rather than as a detraction. Rocksteady dug deep into Batman lore to bring up some many things that I thought would never see the light of day in a Batman game, such as Man-Bat. I'd even say it's the best of the series, with my only real complaints being the Batmobile and the sudden introduction and the hiding of the fact that Jason Todd is the Arkham Knight. Because...reasons?

Batman: Arkham Knight is now avai-

Oh...yeah. The racetracks.

Yeah, I'm not reviewing those. Batman does not do NASCAR.

Batman: Arkham Knight is now available from Rocksteady Studios and Warner Bros. Interactive Entertainment for Microsoft Windows, Xbox One, and Playstation 4.

For the latest from the MadCapMunchkin, be sure to follow him on Twitter @MadCapMunchkin.

Monday, August 7, 2017

MadCap's Reel Thoughts - "The Last Starfighter" (1984)

So...let's talk about the ultimate video game nerd power fantasy film.

Because I, the MadCapMunchkin, am here to tell you that this film here is basically it.  I don't know about you, but it's the dream of every single video game nerd I know (myself included) to be told that you are so amazingly badass at playing video games that a group of aliens who made said video games want you to come from boring old Earth to their planet halfway across the galaxy to fight in an intergalactic war against a nigh-unstoppable foe who seeks to conquer or destroy all sentient life in the universe. And all you have to do is be blackmailed and guilted into it, and then eventually pick up your girlfriend that you so totally have and do the same to her in a never-ending cycle of shame and misery!

...wait a second. Let me start over.

The Last Starfighter is the tale of Alex Logan (Lance Guest), the assumed alias of Jimmy Lloyd after the terrible events of Halloween night of 1978 (the good version), now living in California in protective custody. However, this protection is not so restrictive that he can't spend time with his sort of sort of not girlfriend Maggie (Catherine May Stewart) or play his favorite (and only) arcade game in the trailer park Starfighter.  So what if he has no prospects at going to college? At least he'll always have video games.

But when Alex gets the high score on Starfighter, he finds himself kidnapped by a stylish con-man by the name of Centauri (Robert Preston) and pressed into the service of Rylan Star League as a Starfighter, which is apparently a very rare gift among the civilized societies of the known universe. So much so that there's only a handful of pilots and navigators to battle the dreaded Ko-Dan Armada and defend the planet of Rylos and the Frontier.

Why the Rylans themselves can't get into their Gunstars and go fight off the Armada is something they skillfully avoid mentioning.

But yes, thus begins an epic adventure as Alex must lean to actually pilot the real spacecraft and save the galaxy from the Ko-Dan and the dreaded Xur (Norman Snow). Xur, by the way, winning the award for least intimidating villain ever...except maybe when put up against Lisa from The Room. He hams it up and does practically nothing the entire film that is in any way remotely menacing. Even the Ko-Dan are wondering when they can get rid of him. He does have a really cool mace thing.

A few things before I dive into what I enjoy about this film - because, yes, I really, really love this movie - yes, it's a Star Wars-ripoff and yes, it's a Galaga rip-off. Neither of those things happen to be criticisms. It's a 1980s science-fiction film, of course it drew large amounts of inspiration from Star Wars. And it's one ship going up against an entire armada of other ships, Galaga. That being said, those don't detract from the film in the least.

What does kind of detract from the film is the fact that we're not actually given that much detail about the Rylans or the Star League or even their conflict with the Ko-Dan.  For things that are seemingly so very important, they're either glossed over or not mentioned at all. I will give it credit that the simplicity of it is realistic seeing as Alex isn't told all of this either, but we as the audience really know nothing about any of it beyond the fact that the Rylans say that the Ko-Dan and Xur are pure dang nasty evil.

In A New Hope, you get some exposition through the opening crawl and some dialogue between characters that set up the Empire almost from the jump as an incredibly evil, oppressive regime and we see our heroes have very clear reasons for fighting against that regime. With this movie...you're just told that and given vague mentions of a "dark betrayal" and just told to go with it. No real attempts at world-building, though we do see some very unique designs for the various alien types and both the Gunstars and the Ko-Dan ships.

The Frontier in particular is one of several special effect shots that honestly look really cool for the time. While the sets where the actors are is done by physical locations while the space scenes are done with early CGI. Cheesy by today's standards, sure, but in 1984 it was cutting edge.

However, the film isn't about paper-thin plots or outdated CGI. It's about Alex pushing himself beyond what he believes he's capable of an unlocking the hero within...after being emotionally blackmailed into doing so by various individuals, up to and including his own robotic duplicate (also played by Lance Guest). However, this does work and Alex does eventually step up to the plate after an attack by the Ko-Dan makes him...the Last Starfighter.

Despite the forced blackmail to do the right thing, the film is definitely a good one. Yes, we don't know much about what's going on, but Alex never learns it and I suppose that's realistic to his situation as a whole.Yes, it's outdated in terms of special effects, but it holds up better than most for a movie that's over thirty years old. I love it, and will be happy to watch it time and time again, until I'm battling evil in another dimension.

The Last Starfighter is brought to us by Lorimar Productions and Universal Pictures.

For the latest from the MadCapMunchkin, be sure to follow him on Twitter @MadCapMunchkin.

Tuesday, July 25, 2017

From MadCap's Couch - "Castlevania" (Season 1)

A show review? I thought that would never happen again after Netflix took off Sliders and I became far, far less than inclined to ever review Supernatural ever again. But it seems that just when I think I'm out, Netflix drags me back in with a Netflix original Castlevania series. Based on Castlevania III: Dracula's Curse, but with an art style reminiscent of Symphony of the Night, my favorite game in the whole Castlevania series (that I've played)? I couldn't resist that, could I?

And now, four episodes later, I really, really wish I had.

Let me go ahead and get the things I like out of the way. The animation is phenomenal. It follows on from the art style of Symphony of the Night as I said before and it definitely shows. The voice acting is good. Beyond good, actually. Richard Armitage does a great voice for Trevor Belmont in particular, showing in the The Hobbit trilogy that he has the gravely voice that makes for an excellent vampire hunter.

And now...into some gripes.

The music is composed by Trevor Morris of Dragon Age: Inquisition fame and...none of it is memorable or indicative of Castlevania in any way. None of the music from the games is heard! At all! Though that may be because of the lack of truly awesome moments worth of epics like "Vampire Killer" or "Bloody Tears" as I'll get to in due course.

Another reason this is a full Season 1 review instead of the individual pieces? There are only four episodes as I mentioned above and they're all about twenty minutes a piece. It's bad when the Telltale Guardians of the Galaxy game I've reviewed the first two episodes of a few weeks ago have a greater length than four episodes of this. So, without further adieu...with spoilers to follow beyond this point.

Episode 1: "Witchbottle"
A young woman named Lisa is either brave or stupid enough to march into Dracula's castle in order to learn how to drop science. Sometime later, she's burned at the stake by the Catholic Church because we haven't seen enough of the Catholic Church being dicks in fiction.

Seriously, they've proven more than enough in reality that they aren't on the level. Let's make some new villains, screenwriters.

However, Dracula and Lisa were married and Dracula is understandably rather pissed about the fact that they burned his wife at the stake and...rather generously gives them a single year to leave the area or suffer a terrible fate. They don't, so he kills them all.

Or, if you don't want to read all that: The Catholic Church were dicks and Dracula did nothing wrong. Because, honestly, he didn't.

When Satan tells you to move or die, you move!

Episode 2: "Necropolis"
We are finally introduced to Trevor Belmont, a layabout drunk who runs around in clothing that bears his family crest. The Belmonts apparently having been exiled from Wallachia for reasons that don't exactly pan out because it's the Middle Ages and the Catholic Church are dicks.

Are you seeing a recurring theme here?

But this episode really highlights the main problem with the series as a whole - a lot of talking. A frankly outrageous amount of talking. I'm fully aware that exposition has to get out, but the show itself seems to be built up entirely around just getting out exposition.

The writer of Castlevania is Warren Ellis, who some of my readers will know for his comic book writing (particularly the "Extremis" storyline of Iron Man that was developed into Iron Man 3) and video game writing (Dead Space).  Was he just in a rush with this? If so, I find it hard to believe since this has been in development hell since around 2008.

C'mon, dude. You can do better than mountains and mountains of exposition. That would be like writing paragraph after paragraph of insane rants on an internet blog about geeky B.S. that nobody cares about! Who the hell would want to read that?!

But besides that first paragraph, the only actual thing that happens is Trevor getting to another town where he is given crap by the Church and given an ultimatum to leave, and meeting with a group called The Speakers after saving the Leader, eventually agreeing to enter the catacombs beneath the city to find their leader's granddaughter.

Episode 3: "Labyrinth"
Trevor enters the catacombs and finds a cyclops in what is literally the first Castlevania-esque moment since the first episode. It's a good fight and there had been a few action scenes before to solidify Trevor as a combat badass before, but this is literally the first one where he takes on a monster rather than another human.

Definitely have been getting a Castlevania: Colonial Marines vibe with all the human vs. human fights...

But yes, it's good even if it is surprisingly short. In slaying the cyclops, Trevor releases the Speakers' leader's granddaughter Sypha Belnades from being a stone statue for all eternity. And then, we descend into more talking about the Speakers and their missing "Lost Soldier" who is apparently the only one who will stop Dracula, before the Church starts to come down on the Speakers because of the lie that they're responsible for the plague of Dracula because witchcraft and not anything to do with Christian hypocrisy.

Once again. Anyone? Theme? Do you feel the anvil hitting your head yet?

Episode 4: "Monument"
And now we finally get to something even vaguely Castlevania related. It's here that the show actually shows that it could be something fantastic...and it's a fight between a bunch of townsfolk and demons after Trevor outs the Church for their part in Dracula's mass slaughter in Wallachia.

...at this point, I'll take what I can get.

And it's a good fight, using bits of Castlevania lore to their advantage such as the use of holy water and Sypha's magic. It's only after the fight that we get more and more into the games themselves as Trevor and Sypha have to navigate a deeper part of the catacombs in order to find the Lost Soldier...who is revealed to be Alucard, the son of Dracula and Lisa. What follows it a fantastically choreographed fight that shows Alucard to be a badass where it took Trevor four episodes...and I'm still not very convinced.

But in the end, yes, the three of them band together once Alucard is convinced of their intentions of killing Dracula. And...the season ends.

All that build up. All that exposition. All that distinctive lack of things Castlevania-y...and then it's over. Luckily, it has been renewed for a Second Season with eight episodes instead of just four, so we'll likely get more. Hopefully, they'll work on what has gone horribly not good for the first season as I've described here.

1. Cut down on the exposition. We don't need so much and we don't need to know everything right away and have it repeated over and over again.

2. More monster fights. We have all of two. And they're in the last episode. I don't know anyone who comes to Castlevania to see the Belmonts fight other humans.

3. MUSIC! I cannot stress what a big part of Castlevania that was completely left out of this and it's a major let-down. They were able to use the designs from Symphony of the Night and follow (for the most part) the story from Dracula's Curse, so why didn't the music make it in? Why? WHY?!

If you have Netflix and you want to get into it, go for it. Just be ready for more talking than there is actual monster hunting in a show that is based on a series of games that is literally all about monster hunting.

Castlevania is now on Netflix from Federator Studios, Powerhouse Animation Studios, and - of course - Netflix.

For the latest from the MadCapMunchkin, be sure to follow him on Twitter @MadCapMunchkin.

Monday, July 24, 2017

MadCap's Reel Thoughts - "Ladyhawke" (1985)

If you're a new reader of my blog or you're completely unaware of the fact, I'm a big fan of the sword and sorcery genre, be it in films, books, video games, or whatever else have you. I'm also a big fan of Eighties movies and the cheesiness inherent in most of them. This film, Ladyhawke, has a great deal of the later with very little of the former. Oh, it certainly shows that it's from the Eighties what with a very out of place soundtrack that uses synthesizers in what should be a Medieval European setting, but it isn't as if the characters suddenly run into the band playing their instruments during a sequence or anything of the sort.

Also, for a sword and sorcery story...there isn't much sorcery.

Let me unpack this a bit. The tale takes place in the Middle Ages in that one area of France where everyone somehow has British accents. A thief by the name of Philippe Gaston (Matthew Broderick) is breaking out of an impossible to escape from prison, pursued by some guardsmen sent after him by the dreaded Bishop (John Wood), Philippe finds himself saved by the uber-badass and possible ancestor of Miles Teg known as Etienne of Navarre (Rutger Hauer).

Both we and Philippe learn over the course of the story that Navarre was betrothed to a woman named Isabeau (Michelle Pfeffier).  However, Isabeau was of such beauty that all who looked upon her fell in love with her...even the Bishop. When he learned of their union, he seethed with anger and called upon the Devil himself to curse them both. For the rest of their days, they would be apart. During the day, Isabeau taking the form of a hawk and at night, Navarre becoming a wolf.

Always together, eternally apart.

And Philippe's part in the tale? As he escaped from the city, Navarre reasons that he can help him sneak into the city in order to kill the Bishop and break the shared curse. The best part? The film actually delivers entirely on its premise. More than that, it actually is able to craft a believable, complex, and tragic love story between two characters who share, all told, about five minutes of screentime combined.

That's right, Rutger Hauer and Michelle Pfeffier share all of two scenes together, and it still works.

The film also, for the major plot point of the transformation between human and beast, doesn't have any scenes that show the transformations besides a single one that drives home the hopelessness of their existence and really helps to build on the romance subplot.

There is fantastic acting all around to help the believability as well. Rutger Hauer plays a total badass hardened warrior on a mission who will not be dissuaded. He is desperate to be free of his curse and to free his beloved from the same fate. There is a surprising amount of chemistry between him and Michelle Pfeffier for them only sharing two scenes together, which is a testament to the acting talent of both of them. It's an onscreen romance that works better than many I've seen in film or television. It's well developed, built upon in almost every scene with the plot being centered around it, and the two of them make it believable.

And then, of course, there's Matthew Broderick. He's absolutely phenomenal and Philippe is one of the funniest characters in all of fiction. Every single scene - and I mean it. Every. Single. Scene. - he's in, he steals it. Philippe's continuous struggle in trying to be good for the Lord (in monologues, no less) are an absolute stitch and he serves also as a silver-tongued messenger between Navarre and Isabeau during their switches in what are some genuinely heartwarming moments.

Really, the only critique I can give him is his slipping accent, but that's easy to look past. At least he's attempting to do an accent instead of pulling a Kevin Costner.

This film is magnificent and I would happily enjoy it again any time. It is the very height of excellence and, yes, by the end of this film, you will believe a lady can hawk.

...yes, Richard Donner directed this. It was either that or a "What a guy, Gaston!" joke. Be grateful.

Ladyhawke is brought to us by 20th Century Fox and Warner Bros.

For the latest from the MadCapMunchkin, be sure to follow him on Twitter @MadCapMunchkin.

Tuesday, July 11, 2017

MadCap At The Movies - "Spider-Man: Homecoming"


Spider-Cap!
Spider-Cap!
Does whatever a Spider-Cap does!

Flails his hands! Everywhere!
Sometimes wears,
Underwear!

Look out!
He's got some bad B.O.!!!

Spider-Man Homecoming is now in theaters from Marvel and Sony.

For the latest from the MadCapMunchkin, be sure to follow him on Twitter @MadCapMunchkin.