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La main lave l’autre, Рынок Юность, Вулиця Братиславська, 3, Kyiv (2026)

10/08/2022

Reencarnación del Océano ($199.99)

Lanzado en agosto de 2021, Reincarnation of Ocean es un juego de aventuras RPG de desplazamiento lateral del desarrollador chino CatCat Gaming. Desafortunadamente, ni una sola persona ha revisado el juego hasta el momento, lo que dificulta determinar si realmente vale la pena su escandaloso precio. Sin embargo, las imágenes y el video adjuntos sugieren que probablemente no lo sea.

El personaje jugable, Prince Elves, que de alguna manera es capaz de caminar indefinidamente por el fondo del océano sin quedarse sin aliento, flota ligeramente sobre el suelo y pasa directamente a través de objetos sólidos. Además, todos los enemigos parecen ser esqueletos armados con hachas, lo que sugiere que no hay mucha variedad en oferta incluso a pesar del alto costo del juego.

10/08/2022

Orador virtual ($199.99)

La idea detrás de Virtual Orator es increíblemente simple: proporcionar una experiencia de realidad virtual que ayude a las personas a superar su miedo a hablar en público. Si las dos revisiones sirven de algo, el desarrollador Virtual Human Technologies realmente logró la ejecución, y ambos afirmaron que recomendarían el título a otros.

El juego cuenta con numerosos lugares y permite a los usuarios ajustar el tamaño de la audiencia y su comportamiento general. Además, los jugadores pueden importar y practicar con sus propias notas, lo que la convierte en una gran herramienta para ensayar discursos y presentaciones, así como para superar la glosofobia. Sin embargo, a $ 200, solo aquellos con un miedo increíblemente severo a hablar en público probablemente muerdan.

10/08/2022

Ejecutar ladrón ($ 199.99)

¿Cómo exactamente el desarrollador H.G.G. puede justificar cobrar apenas $ 200 por Run Thief es un misterio por el que el mismo Sherlock Holmes seguramente se quedaría perplejo. Es un título de acceso anticipado que se parece más a un juego de basura de los noventa que a algo que se lanzó a mediados de 2019.

El juego pone a los jugadores en la piel de un ladrón que ha descubierto detalles sobre un complot contra Emporer. Como sugiere el título, tienen la tarea de huir de un flujo aparentemente interminable de perseguidores mientras evitan trampas y superan los peligros ambientales. Solo dos personas lo han revisado hasta ahora, y ninguno lo recomendaría.

10/08/2022

000 Etapas: Aventura!!! ($149.99)

Con más de 1000 plataformas flotantes y tres signos de exclamación completos, 1000 Stages: Adventure!!! es un simulador de caminar en 2D que se parece más a un juego de Atari 2600 que a uno de los títulos más caros de Steam. Les costará a los jugadores $ 149.99, aunque el desarrollador ha expresado su voluntad de proporcionar claves gratuitas para aquellos cuyos ingresos mensuales sean inferiores a $ 800.

Curiosamente, el juego no siempre ha tenido un precio tan alto, y un crítico reveló que pagaron diez libras esterlinas por él a mediados de 2018. Incluso a ese precio, pensaron que era una pérdida de dinero, aunque el desarrollador respondió a su revisión casi tres años después para desearles un feliz año nuevo, lo que sin duda suavizó un poco el golpe. En realidad hay dos críticas positivas, aunque ninguna de las personas que las dejó jugó el juego por más de 30 minutos.

10/08/2022

VR-RCP ($119.99)
Las imágenes que se muestran en VR-CPR son bastante impresionantes, aunque queda por ver cuántos posibles rescatadores están dispuestos a seguir el consejo médico del juego desarrollado y publicado por Studio Evil. Incluso si las personas pueden ignorar este desafortunado nombre, es probable que el precio de $ 120 resulte ser un obstáculo.
En el momento de escribir este artículo, VR-CPR solo tiene una revisión de Steam, en la que el autor se pregunta si el juego está utilizando las últimas pautas de RCP de la AHA. Según ellos, algunas de las instrucciones en el encabezado no se han incluido en dichas reglas desde 2010, lo que probablemente influyó en su decisión de solicitar un reembolso a Steam.VR-CPR (119,99 долларов США)

Визуальные эффекты, отображаемые в VR-CPR, на самом деле довольно впечатляющие, хотя еще неизвестно, много ли потенциальных спасателей, готовых воспользоваться медицинским советом из игры, разработанной и опубликованной компанией Studio Evil. Даже если люди смогут не обращать внимания на это неудачное имя, ценник в 120 долларов, вероятно, окажется камнем преткновения.

На момент написания у VR-CPR есть только один обзор Steam, в котором автор задается вопросом, использует ли игра последние рекомендации AHA CPR. По их словам, некоторые из инструкций в заголовке не были включены в указанные правила с 2010 года, что, вероятно, повлияло на их решение запросить возмещение у Steam.

22/07/2022

The Stars at Noon review: A 'beguiling, immersive film'

Claire Denis' new film is a romantic thriller that's beautifully made, writes Nicholas Barber – but its plot drifts in places.

Claire Denis is one of the most beloved filmmakers in international art-house cinema, but in a career that has stretched across three decades, her films haven't crossed over to a mainstream English-speaking audience. The closest she got up until now was with High Life in 2018, a science-fiction horror drama starring Robert Pattinson and Juliette Binoche. Now she is at the Cannes Film Festival with The Stars at Noon, which would appear, at first glance, to be even closer to a commercial genre movie. Adapted from the acclaimed novel by Denis Johnson, this is a romantic thriller set in the tropics, with two hot young Hollywood stars, Margaret Qualley and Joe Alwyn, an undercurrent of danger, and so many torrid s*x scenes that it's quite a surprise when the actors have their clothes on.

Johnson's novel was set in Nicaragua in 1984. The film version is set in the present day, with Covid tests and face masks in abundance, but Denis is deliberately vague about whether the characters are in Nicaragua or some other Central American country. Indeed, she's deliberately vague about most things. Qualley plays Trish, who was once an idealistic campaigning journalist, but now seems to be stuck in this cesspool (her words) with no job, no purpose, and no money except for what she gets by sleeping with various militia officers and government ministers. Her home is a motel on the crumbling outskirts of a city with a shortage of luxury goods, but no shortage of armed soldiers on every corner. "I'm going home tomorrow," she declares, "or the day after". You get the feeling that she's been saying that for a long time.

20/07/2022

Close: An exceptional film of empathy and vision

Director Lukas Dhont has followed up his film Girl with the 'tear-jerkingly sweet and tender' buddy story Close, writes Nicholas Barber.

If there was a prize for prompting the most sniffles and sobs at the Cannes Film Festival, the runaway winner would be Close, a devastating Belgian coming-of-age drama co-written and directed by Lukas Dhont. Its heroes, Léo (Eden Dambrine) and Rémi (Gustav de Waele), could be the dictionary definition of youthful freedom and possibility. First seen racing through the idyllic commercial flower fields owned by Léo's family, these grinning, glowing, skinny 13-year-olds appear to have inexhaustible energy and boundless joy. Best of all, they have each other. As close as brothers, they're happy to use one another as pillows as they nap on the ground in the summer sunshine, and at night, they're happy to sleep side by side in Rémi's bed, where Léon whispers improvised fables about duckling and lizards. Their affection is tear-jerkingly sweet and tender – and that's just in the film's opening minutes. Is there anything more to their relationship than platonic friendship? You might think so when you see Rémi practising the oboe, as Léo gazes at him with wide-eyed adoration, but the question has never bothered either of them.

18/07/2022

Jurassic World Dominion review: 'Exhilarating'

The final of the two trilogies is 'proudly excessive' and 'jam-packed with silliness, spectacle and romance', writes Nicholas Barber.

The Jurassic films – that is, the three Jurassic Parks and the three Jurassic Worlds – are all about people knitting together DNA from different species, and the makers of Jurassic World Dominion have done some gene-splicing of their own. They have taken the heroes from the current trilogy, Owen (Chris Pratt) and Claire (Bryce Dallas Howard), and mixed in our old friends from the original trilogy, Alan (Sam Neill), Ellie (Laura Dern) and Ian (Jeff Goldblum). They have also taken all the usual scenes of dinosaurs sneaking around jungles, and combined them with shoot-outs, plane crashes, motorbike chases through exotic cities, and undercover missions in high-tech secret bases.

In other words, the sixth and supposedly final Jurassic film has been souped up with the genes of James Bond, Jason Bourne and other such globe-trotting adventurers. Indiana Jones's DNA is particularly dominant. In one scene, Alan is in a rocky tunnel, brandishing a flaming torch, and he risks being eaten by a dinosaur because he wants to retrieve his trusty hat. I wouldn't be surprised if 50 pages of the screenplay were ripped straight from a dusty unused script called "Indiana Jones and the Land that Time Forgot".

16/07/2022

Lightyear review: 'A frustratingly slow, melancholy drama'

The latest entry in the Toy Story cinematic universe is "thin and repetitive", with a "sloppy screenplay", writes Nicholas Barber.

Pixar's latest Toy Story film isn't really a Toy Story film. That is, it's a film about Buzz Lightyear, but it's not about the Buzz Lightyear action figure who was in Toy Story. It's about the Buzz Lightyear character who, in theory, prompted a toy company to manufacture the action figure in the first place – and that's why he is voiced by Chris Evans rather than Buzz's usual actor, Tim Allen. Yes, it's confusing, but a caption at the start of Lightyear makes things reasonably clear: "In 1995, a boy called Andy got a Buzz Lightyear toy for his birthday. It was from his favourite movie. This is that movie."

This postmodern premise raises some distracting questions, the first one being: does Lightyear seem like a film that might have come out in 1995? Does it have much in common with Jurassic Park, Men in Black, Independence Day, and the other science-fiction hits of the mid-1990s? The answer is no. The film's clunky machinery and scratched paintwork look as if they come from the 1970s rather than the 1990s, but features progressive attitudes which belong firmly to the 21st Century.

14/07/2022

The Gray Man review: Jason Bourne 'with an identity crisis'

Directed by the Russo brothers and starring Ryan Gosling, Netflix's The Gray Man borrows from a slew of secret agent thrillers, but doesn't match them in quality, writes Nicholas Barber.

James Bond is out of action, Jason Bourne hasn't been seen since 2016, and, now that Tom Cruise has turned 60, it can't be long before his Mission: Impossible missions really are impossible. This, then, could be the ideal moment for a new cinematic secret agent – and The Gray Man seems to be the man for the job. The film is directed by Joe and Anthony Russo, who made the last two Avengers instalments, and it's adapted from the first in a series of best-selling novels by Mark Greaney. It's also got a £170 million budget – the biggest ever for a Netflix production, apparently – and it's got Ryan Gosling in the lead role alongside Chris Evans and Ana de Armas. Everything is in its favour. So how come The Gray Man is such an un-thrilling thriller?

The main issue is that if you're going to launch a new franchise, it helps if it actually feels new. The Gray Man doesn't. It's not just that the hero's code name, Sierra Six – or Six for short – is strangely familiar ("007 was taken," he admits), and it's not just that the brassy score always seems to be building up to the signature riffs from the James Bond theme and the Mission: Impossible theme. The truly hackneyed part is that Six is on the run from the very people who trained him. The Russos pretend that their plot is complicated: they keep interrupting the story with flashbacks, cuts to other characters, and captions explaining that we're in Bangkok or Monaco or London or Vienna or Berlin (so many locations, so few memorable shots of those locations). But in fact, the scenario is boringly simple. A secret agent's employers are after him: will he be able to deal with them before they deal with him?

One problem is that this was all done better by The Bourne Identity 20 years ago – and The Gray Man borrows a huge amount from that film, including its shady, jargon-choked CIA meetings and its beautiful sidekick (De Armas, far less engaging than she was in No Time to Die). The other, bigger problem is that The Bourne Identity spawned several sequels, and several more wannabes with the same agent-vs-his-or-her-own-handlers premise, including Salt with Angelina Jolie, Safe House with Ryan Reynolds, Hanna with Saoirse Ronan, RED with Bruce Willis, and Knight and Day with Tom Cruise. Even Daniel Craig's James Bond got in on the act in Quantum of Solace. The Gray Man is so late to the party that everyone else has gone home.

La main lave l’autre

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