Slacker Uprising

The man famous for his depictions of the Republican party and George W. Bush brings yet another pro-Democratic movie to the mainstream, this time trying to encourage what he sees as the laziest demographic to vote at the 2004 US Election.

Having created huge controversy the world over for his highly critical pieces Fahrenheit 9/11 and Bowling for Columbine, Slack Uprising is Michael Moore's 2007 effort.

His belief and biggest concern about the voting system is that young adults and college students, allowed to vote from the age of 18, do not care enough to show up to voting booths and register their decision on who should run the country.

Whilst the idea of filming this process is interesting in theory, it does not transfer well to the big screen. The film's introduction tells us what we already know, that Moore's effort were not enough to ensure Bush's reign in the White House would come to an end. In that sense, the film is pointless because the audience already knows the outcome and many couldn't care less about the campaigning.

The other aspect, however, is the way in which Moore evokes a sense of purpose in the would-be voters across the USA. His aim is to tour the country, visiting low-key back alley states who would never otherwise be covered by the mainstream news, as well as the heavyweight states such as Ohio and Florida, which have decided many an election.

The opportunity to experience on screen the masses that attend these rallies and deafening applause from each set of voters is incredible and gives an idea of just how much support the Democrats were accruing as the campaign progressed, although many would doubt whether everyone involved would actually vote, as nothing is set in stone by this point.

Moore hints upon sentimental areas, such as the right to free speech and the killing of four students by Nation Guard soldiers, who were sent to disperse students protesting the invasion of Cambodia, at Kent State University, Ohio. With respect to these acknowledgements, the film certainly touches on pressing issues, such as the way the government responds to opposition and the way unjust action is taken against those who, in this case, are protesting unarmed. Thankfully, this does not happen anymore.

Politics aside, Moore's select editing of the campaign footage is at times misleading and manipulated as one would expect. Interviews with pro-Bush voters are edited to have them appear unintelligent and/or downright idiotic. Later in the film, we are introduced to the Bush voters who sneak into the rallies and have to be removed due to being a disturbance. These scenes are only mentioned later in the film as if it is an emerging problem, and not a constant hassle which I found strange, and slightly questionable

Slacker Uprising certainly serves its purpose; it demonstrates just why a Democracy should work and why the ability to vote is a human right and justifiably so. However, it is horribly disjointed in places, and doesn't always feel fluid as a production.

6/10

Tony: Review

Tony

Yet another in a series of unknown films and never be released nationwide, Tony tells the story of an unemployed reclusive and socially awkard creep living in East London.

Tony Benson lives a very sheltered life, relying on 80s and 90s action films to build his lust for killing, whilst presenting a weedy and shy guise when out in public. During his lonely days, he lures unknowing clubbers, druggies and door to door salesmen to his flat, before unleashing various murder techniques. Storing their bodies and limbs in his flat, he later dispenses of them in nearby canals.

For the first time in a long while, I can understand how an independent film may be overlooked and kept out of the public eye. This is not a film which glorifies any aspect of life. It merely paints a grim picture of being lonely, scared of human contact and is devoid of a positive message. Nevertheless, other than an abrupt and seemingly lacking ending, the film is a subtlely poignant albeit nasty tale of loneliness in modern Britain.


7/10

Bioshock 2 Review

Bioshock 2












Set in 1968, eight years on from its sequel 'Bioshock', this highly anticipated title was released in February without participation from original creator and inspiration Ken Levine, whose ideologies and input produced the innovative storyline handling and impressive end product.

Here, though, the gamer plays the role of Delta, a Big Daddy 'creation' who has had his Little Sister removed from by Sofia Lamb, a devious psychiatrist who has taken control of Rapture, the game's fictitious under-sea utopia, following Andrew Ryan's demise in the first game.

Whilst the creative absence of Levine had brought with it cries of woe from the most dedicated of Bioshock fans, it was seen as a chance to inject a zest of fresh writing and allowed, many believed, a chance for the series to perhaps look to other characters to produce yet another atmospheric and groundbreaking entry to the critically acclaimed IP.

Whilst the game itself doesn't bring any huge changes in any department, it certainly stands strong as both a separate entry in terms of creative production, but also as a standalone title. Those unfamiliar with the earlier game are reminded throughout Bioshock 2 of events and characters from the past through audio log entries and interaction with newer and pre-existing characters this time round. Though those with fond memories of Bioshock will not be miffed either, old characters making cameos along the way, be it through audio logs or through psuedo-cutscenes.

Gameplay mechanics are only slightly amended; the ability to wield plasmids and weapons at the same time produces some fantastic and ultimately endless ways of killing enemies, an ability which was lacking from the previous title but didn't necessary take away from the overall experience. That said, it certainly helps in close-quarters combat environments and does nothing but help those who find facing enemies overwhelming at times.

Probably the biggest letdown of the game itself is the way different characters are introduced and the way their impact on the lives of Eleanor, the game's main story character, Sofia Lamb and Delta is demonstrated. There are points in the game where peripheral characters interact with the player but little explanation (or at least, no clear explanation) is offered. This left areas of confusion in the game's timeline and left me feeling like I didn't know why I was taking on some enemies but within the overall context, this was not a concerning factor.

When considering Bioshock 2 in the same breath as its predecessor, it's hard to really compare the two. The original offered a fantastic game world, and one which players could observe and gaze at in awe, realising the history and monolithic collapse that had taken place just years earlier. The way the sense of immense atmosphere and presence was created made the game that much more impressive when placed side by side with other first person shooters across the various generations of games consoles. However, as a sequel without its creator, and with a tough task to overcome in bettering the previous title, it was never a plausible option.

However, perhaps the game's biggest achievement is how it handles the ending, a tricky area for all game developers. How does one (possibly) bring to a finish one of the better-realised stories of the current generation, whilst satisfying those who live for the Bioshock series? Without spoiling anything for those yet to play the game, for me it was a brilliantly executed ending. Not only does it wrap up the ideologies discussed in the two Bioshock titles, it all questions the ideal of Utopia, and just what makes such a magical (or otherwise) fantasy.

As a standalone title, Bioshock 2 emerges as an impressive, albeit varied shooter. It makes enough improvements to be considered a great entry within the Bioshock franchise but also makes enough changes to separate itself from the original. Does it better the original's ending, absolutely. Is it better than the original? Not quite. But few can argue that it is itself is a thoroughly enchanting and rewarding game by itself.

8/10