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Platforms: Xbox One, Playstation 4, PC.
Developers: id Software Publisher: Bethesda Softworks
Players: 1 / Online Multiplayer Release Date: May 13, 2016

Hell of a ride.

Doom is back and rebooted (kind of), and frankly more than capably claims its past glory. Skipping over the events of Doom 3, apart from a few nods and a thankfully maintained art direction, Doom is an entirely new beast that both harks back to what made the originals so timeless whilst catapulting the game play forwards in new and interesting ways. With its adrenaline fueled campaign that knocks it out of the park, a competent multiplayer and the novel snapmap mode, Doom certainly presents a meaty package for players to get stuck into.

The campaign is the heart and soul of this package, offering a good 8-12 hours of demon slaughtering fun depending on how much of a completionist you are. Time is never wasted when getting into the action, throwing you into a room full of zombies armed with nothing but a pistol and the tongue in cheek message of “Demon invasion in progress” on the terminals, and the pace only quickens from there on. A handful of cut scenes and some explanatory narration are all that slow down the demon killing that for all intents and purposes can be played with no attention to the story whatsoever. That’s not to say id Software haven’t given the details attention; all the weapons, demons, areas etc have plenty of interesting data entries to be unlocked, its just that its wisely kept to one side allowing those who want to keep strictly to the action to do just that. Taking a moment to pause and explore is well worth it though as each level is intricately designed, jam packed with secrets and interesting combat advantages that will reward the curious player. Classic Doom levels are even hidden around as a great reward for long term fans.

Killing demons is where its at however, and id deliver fully here. With a quick base movement speed, vast weapon inventory and no need for reloading, this begins as a classic Doom brought into present day. But as you play on new features will be revealed that not only add an extra layer of depth to Doom, but come to redefine its moment to moment game play entirely. First and foremost are its glory kills, brutal executions performable on weakened enemies, that not only provide a glorious animation but also healing. Having these executions grant much needed health push the player into being more aggressive, chasing the next execution to stay healthy, and despite a somewhat limited number of animations these never get old. The addition of a double jump and mantling edges only further the emphasis on movement in Doom, which coupled with a roster of incredibly aggressive demons writes camping and taking cover off entirely. Every skirmish is a tense battle for survival as you sprint from enemy to enemy, then away from, all in order to pick each foe off one by one whilst staying one step ahead. The reliance on arena based encounters can become slightly too much as the later levels throw one after another at you, but when you’re in the fight Doom manages to remain frantically fun from beginning to end even after the new additions have long run out.

Both the weapons and demons stand out here, most managing to be unique and bringing something new to the table. Imps are more agile than ever, throwing fireballs as they jump and never failing to keep you on your toes. Even towering foes like the Barons of Hell charge at you full tilt, leaping through the air to close the distance alarmingly quickly. In terms of art direction a brilliant balance is met between the more cartoonish renditions of the originals and Doom 3’s more serious take. The more garish enemies maintain their iconic looks whilst not looking out of place in the realistic setting, with the Pinkies in particular being a thrill to battle. The most striking makeovers are given the bosses however, with each battle consisting of non stop dodging and retaliation when possible against a never ending wave of sudden but well telegraphed attacks. Boss encounters aren’t reinvented, but with current first person shooters being reluctant to push the boat out with boss battles its refreshing to see Doom once again stand tall as an example to the rest.

When it comes to weapons Doom has taken a similar approach to reinvention, with every gun boasting the simplicity of the originals whilst having optional modifications that in turn make them far more versatile. The way these upgrades are handled is well done, with each one requiring certain actions to be performed to be improved, encouraging you to mix things up in scenarios where you’d otherwise be sticking to the same old tactics. Not all the weapons are created equal however, especially with the raw power of the super shotgun rendering the initial shotgun obsolete early on, unfortunate given how both are good fun to use. Its hard to knock Doom for this too much however, as the great array of modifications do give even the weaker weapons more opportunity later in the game. The chainsaw and BFG are both tweaked well here as well. The chainsaw is now a lethal one hit kill against any enemy given enough of the precious fuel is available, and it also causes said enemy to explode in a fountain of ammo, making it an incredibly useful tool that you’ll carefully deliberate when to use. Likewise with the BFG, it still clears rooms with ease but no longer steam rolls over bosses, instead it stuns and even cancels their attacks, giving windows of opportunity in these tense fights rather than removing the challenge completely.

Doom both looks and sounds beautiful. Apart from the occasional clipping of the scenery when glory killing everything runs without a hitch no matter how busy the fight gets. Both the cold lab areas and ominous landscapes of Hell are rendered fantastically, making both a joy to root around. The sound direction is also top notch, with every gunshot and demon snarl sounding rawly tangible. Mick Gordon’s heavy industrial soundtrack also deserves a special mention, its ability to slowly ramp up the tension in every fight certainly got the blood pumping in each and every encounter.

Outside of the single player Doom still has a lot to offer. The multiplayer component can match the chaotic fun found in the campaign at points, but unfortunately its emphasis on loadouts seems to undermine the arena shooter heyday its attempting to recapture. The new Demon runes that allow players to become demons to wreak havoc are a great feature however, as they shift the flow each match substantially with their risk reward element of having the chance of becoming the demon yourself should you manage to slay it. The Snapmap mode is sure to offer hours of fun to the more creative players too, with this robust but easy to use level editor enabling you to create anything from co-op levels to multiplayer maps. The current low max enemy cap does hold it back when it comes to creating some grander levels, but investing some time in this mode soon reveals just how much it has to offer.

Verdict

Doom is back in a big way. Its campaign offers up the classic straight forward thrills of the originals whilst mixing up the moment to moment action in some ingenious ways. From beginning to end its a non stop roller coaster that never lets up on the action, placing a firm emphasis on pushing the attack to prevent encounters from ever becoming repetitive. Elsewhere its multiplayer component offers some fun but short lived action, but Snapmap offers a powerful creative tool to those willing to invest some time in this novel feature. Welcome back Doom.

Hits

+ Insane campaign that encourages aggressive mobility
+ Tenacious demons and memorable bosses
+ Great roster of weaponry and modifications
+ Abundance of secrets hidden among its complex levels
+ Soundtrack will have you sweating
+ Snapmap is a versatile feature

Misses

– Multiplayer doesn’t match the simple thrills of the campaign
– Reliance on arena based encounters

Run time: 119 mins Certificate: 15
Director: Alejandro G. Iñárritu
Cast: Michael Keaton, Edward Norton, Emma Stone.
Release Date: January 1, 2015.

Keaton Returns

Birdman hooks you in from the beginning. A meditating Michael Keaton levitates above the ground as the ominous voice of Birdman reflects on his failures. From this moment onwards you’ll be glued to the screen, caught inside Riggan’s (Keaton) struggle between launching his own Broadway show and maintaining both his family and his own sanity. All whilst his past blockbuster role of the superhero Birdman entices him back to the easy pay check and global fame it once gave him. Its an excellent character study that grabs hold and never lets go until the end, an unrelenting ride through Riggan’s personal life and inner psyche. Exceptional performances and cerebrally tuned direction lend this surreal trip a numbing sense of reality; in other words you’ve never seen anything quite like Birdman.

The whole affair is best watched in one go without interruption, and even if you’re bursting for an intermission you’ll likely endeavour to stay seated to the end. Emmanuel Lubezki presents the entire film as a singular absorbing experience where the camera weaves naturally towards the next scene without a cut as if the entire film were one long take. One particular take that see’s Keaton awkwardly stride half naked through crowded streets is a definite highlight. Tricks are naturally employed to give this effect between scenes, but even having each individual scene progress with minimal cutting emphasises the ‘day in the life of’ perspective put forth here even with the focus on time and characters shifting throughout. The result lends a tangible intimacy that comes with every shot, a backstage argument proving just as involved as a defining speech on stage before an audience.

Keaton and Stone as the dysfunctional father and daughter duo.

Likewise Antonio Sanchez’s minimal soundtrack bolsters this seamless approach, slow burning drum solos between scenes building the momentum before fading out as a characters dialogue carries its rhythm onwards. Every moment devotes itself to exploring these flawed characters and you’re right there with them; a long shot of silence that stares down an empty hall for 20 seconds or so will have you holding your breath for what dramatic beat will storm into that empty space next. Its at this moment that you’ll realise Birdman doesn’t only deserve your attention, but demands it.

It may sound like an awfully serious affair, but Birdman greatest appeal lies in just how funny it can be. Keaton and Norton’s chemistry on screen leads to some hilarious confrontations, their tenuous relationship that flips from admiration to rivalry entertaining all the more because of its sincerity. Likewise the arguments between Riggan and his Birdman persona, complete with a growling superhero voice, are moments so darkly funny because of the genuine chords they strike away at.

Iñárritu’s direction leaves no stone unturned. Superhero blockbusters are disassembled to their base components, both ridiculed and praised for being what they are. An enraged Keaton onslaughts Lindsay Duncan’s reviewer for misusing her position when at the same time he unknowingly evaluates his self same issues. Its in its raw exploration of these aspects of show business that the comedy is found; without an agenda Birdman simply presents these standpoints for what they are, knowingly laughing at itself just as much as it does its targets. The ending above all encapsulates what Birdman analyses, the desire to be talked about, and once the credits begin to roll you’ll most certainly talk about it.

Norton's Mike is the perfect foil for Riggan. — Norton’s Mike is the perfect foil for Riggan.

Keaton is at the top of his game as Riggan, dominating the screen with his gratifyingly delivered rants and proving depressively fragile when confiding in co-stars Emma Stone and Amy Ryan. A film such as this could easily come off as aloof, especially with a lead like Riggan, but its Keaton’s unfettered magnetism that keeps the sentiments behind the madhouse genuine. There is another star of this show in Edward Norton however, playing a role seemingly written for him effortlessly. His smug stage actor drives much of the backstage tension whilst remaining comically charming; a perfect opposite for Keatons weathered star. Emma Stone mirrors her father’s solitude well as the recovering addict, playing a well worn role with enough substance as to never be in danger of becoming a cliché.

Smaller roles all have their moments as well. The aforementioned Lindsay Duncan’s subdued bitterness plays off of Keaton and Norton perfectly in her few scenes. Zach Galifianakis and Amy Ryan are brilliant anchors in Riggan’s life, again leaving a lasting impression without the need for lengthy appearances. Andrea Riseborough and Naomi Watts are cast well, their respective romantic sub plots rounding out the circus that is the backstage drama in what limited time their given. With a prolific cast that play off of each other so flawlessly the one issue with Birdman is all the more glaring, as its disappointing to see that the majority of their threads are left hanging come the conclusion of Riggan’s.

Verdict

An altogether original descent into one man’s endeavour to do something with his life, Birdman is as every bit euphoric as it is darkly telling. Keaton turns in the performance of a lifetime, both mentally and physically, while a supporting cast headed by an on form Norton ice the cake and then some. All this wrapped in a hypnotic long take style and intertwining drum solos synonymous with the beats of the characters it plays in. A rare example of the medium that is as much an experience as it is a film, its time you sat down and found out what it means to be Birdman.

Hits

+Keaton’s Birdman is sublime
+Norton heads up a fantastic supporting cast
+Iñárritu’s subtle dissection of the film industry
+Lubezki’s long take cinematography is like nothing else
+Laughs are as organic as the rest of the experience

Misses

–Character threads are left hanging

Overall Rating

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