Is Sony Santa Monica's new IP 'Heartland'?

Sony's new rumoured PS3 exclusive from Santa Monica may very well be the revival of a previously canned PSP title: Heartland.

Recent rumours have pointed towards Sony Santa Monica working on a new IP that requires personnel with experience in 1st or 3rd person shooters, experience in vehicle combat and open-world development. On top of this, David Cage of Quantic Dream made mention that he was asked to advise on a modern FPS for the PS3. Presumably, this title is an exclusive and since Sony 1st party developers share tech, chances are this exclusive is from a 1st party studio.
http://scrawlfx.com/2011/04/is-sony-santa-monica-developing-a-shooter
http://www.vg247.com/2011/03/23/quantic-dream-staying-exclusive-to-playstation-for-foreseeable-future-says-cage/

It is quite possible that this title is the cancelled PSP game 'Heartland' which David Jaffe, of God of War fame, was spearheading with Incognito (now LightBox Interactive) until development was stopped. Jaffe described the title as an emotional FPS which involved the Chinese invasion of the USA, and that it was a response to the Bush administration of the time. Jaffe explained that the level design was going to be large in scale but not quite an open-world affair, and that QTE's would be used in some capacity. Lastly, Jaffe was being pressed by Sony to make the title for the PS3 as opposed to the PSP .
http://www.escapistmagazine.com/articles/view/issues/issue_146/4817-Inside-David-Jaffes-Heartland.2
http://www.1up.com/news/jaffe-heartland-response-president-bush


With this considered, here are the following reasons why Sony Santa Monica's new IP may very well be the revival of Heartland:

1) Heartland was a FPS and the new IP requires FPS experience.
2) Vehicle combat is likely considering Heartland was based on modern warfare and because:
3) Jaffe originally stated that Heartland would involve large levels, and Santa Monica is looking for open-world development.
4) Cage was asked to aid in a modern FPS for the PS3: since the story of Heartland was meant to be quite poignant it is possible that Cage was asked to offer his opinion on the narrative. Additionally:
5) Heartland was originally going to make use of QTE's, something both Santa Monica and Cage have experience with.
6) Sony Santa Monica helped co-develop Warhawk, a prominent PS3 exclusive from Incognito. Considering Heartland was going to be developed by Incognito, it is possible that Santa Monica's relationship to Incognito has allowed the title to fall into Santa Monica's hands.
7) Sony wanted the title on the PS3, which is the very platform the new IP appears to be heading to for.

Water for Elephants

Departing along gently...

Jacob Jankowski (Robert Pattinson) has a bright future ahead of him: with the Great Depression ravaging through America he has the chance at a good job as a veterinarian and a stable life. This all changes when he discovers that his parents have been in a car accident and that he is illegible to own their house. He tries to renew his life's purpose and by chance comes across the circus troupe of the Bezeni Brothers where he meets the cruel owner August (Christoph Waltz) and dazzling Marlene (Reese Witherspoon).

Titanic on a train: you would be forgiven if this was your estimation of the film based on previews and for the most part you would be right. Based on the award-winning novel of the same name, Water for Elephants tells the story of a man who has to redirect his life after it is derailed from some unfortunate events. The story is told in a linear fashion and it is a pity that not more is made of the idea of reality vs. illusion which is a noticeable subject in the odd dialogue interchange. While this concept has more in liking with who a character really is and what information they know but do not let on, the concept is nevertheless never fully developed and ultimately explained by the characters themselves. Nevertheless, other themes present themselves in more subtle and interesting ways such as the images of railroads and water allowing the experience to not be all dictated. In the end, the film feels like a reworking of James Cameron's Titanic with a new setting and a new cast, but it most likely will not have the same cultural impact.

Romance becomes pivotal to the development of characters and the respective actors prove capable. Robert Pattinson will obviously be the centre of talk for the film and he does well for himself here. If you did not feel that Remember Me was a step in the right direction from a Twilight-esque future, then this film will surely give you the impression that Pattinson at least has the potential to mature his acting in a commendable manner. Witherspoon does an adequate job in her portrayal of Marlene and wriggles in workable chemistry between herself and Pattinson, but ultimately she does little to truly shine beyond her male counterparts. But experience is what steals the show with Waltz exemplifying a character who can pull you in with his charisma and idealistic hopes but who can also repulse you with his cruelty. Waltz is indeed the strongest link in the acting department but do not let his performance undermine the rest of the cast, especially the supporting roles who help create a holistically believable set of characters.

All of this is strengthened by some decent costume design and film direction which brings every scene to life gracefully. There is some questionable CGI use for animals towards the end and the environment does not get quite the showing it could but the film feels balanced and admirable in portrayal of one man's journey of self-discovery.

Sex and nudity are, at most, hinted at and language is mild at best. There is some violence mostly in the regard of fist fighting but also the rare off-screen violence towards an animal.

As mentioned earlier, Titanic on a train could very well be an apt explanation of the film. There is thankfully enough substance to allow the story to craft its own image but only just. This coupled with some slight CGI mishap and a narrative that does not always allow one to ponder on certain ideas, are not enough to truly hurt the overall quality. The story is lovely; the acting is strong; and the filming is delicate in what it offers. It may not be the Titanic of the time, but it is hardly a bumpy ride either.

8/10


Screen date: 15 April 2011
Release date: 15 April 2011

Red Riding Hood

Raw meat...

The small village of Daggerhorn is an isolated one and for good reason: for 20 years it has been subject to attack from a werewolf during every full moon period. The village has a pact with the werewolf as they offer it live animals in hope that none of their people are harmed. This appears to change one day when the sister of Valerie (Amanda Seyfried) is killed by the beast. Coupled with issues of love and her future, Valerie is caught between two potential suitors and a frenzy hunt for the wolf.

Adapting the tale of Little Red Riding Hood was always going to be an interesting undertaking, but the result is a mixed bag. The narrative obviously expands past the scope of the original tale in order to create a cohesive context in which the story can unfold. The main problem with the story is the apparent lack of depth. Many possible themes arise including issues of sexuality, feminism and identity, but these go largely unexplored and mean little by the time the credits roll. The action that is presented is merely to mask a romance story which is pretty predictable by nature: the question is not who Valerie will end up with but rather when it will happen. It does not help that characters fall into the stock variety, such as Father Solomon (Gary Oldman) who ends up being quite cruel with his methods of helping the village. Characters also go underdeveloped: besides the small arc involving infidelity between two families, characters just seem to exist for the sake of it. Take into account that decisions that appear so obvious for characters are ignored just to build tension, then it is no wonder that the films length begins to feel artificially made. Add in come clichés and a mystery which resolves itself out of nowhere, and you have a narrative that is both lacking in cohesion and quality.

The range of actors is by no means impressive but it is definitely both intriguing and manageable. The younger cast are sadly quite wooden most of the time and considering they are the ones around which the love triangle revolves, the chemistry is just lacking. The love between Valerie, Peter (Shiloh Fernandez) and Henry (Max Irons) never rises above its Twilight roots. Seyfried can be given some credit since she does convey a larger set of emotions than everyone else in the cast. Sadly, the older cast do not exactly fair much better, but it is unfortunate that it is up to Oldman to lend acting experience to the film, and he definitely has presence in his scenes.

If there is a saving grace it is the overall atmosphere of the film. The opening scenery is testament to a film that is trying to create an overarching environment in which to position the village in isolation, but also to present the mystical feeling of a fairy tale. While not the most striking scenery, the woods look straight out of Twilight for example, the effects give a fantasy element that very much cements the film in its fairy tale origins. The CGI for the Werewolf is lacking but it is a minor issue in a film in which director Catherine Hardwiche is able to mesh both darkness with the odd scenes of gorgeous scenery fairly well.

Language features minimally throughout the film and nudity is nonexistent. Sex never really features though sensuality is present at times. Violence is quite apparent and besides a quick shot of the removal of a body part, violence is neither gory nor that bloody.

The angst of teenage love in dark fantasy is definitely a hot topic for cinema, but Red Riding Hood does not expand the idea in any meaningful way. The scenery is great, Gary Oldman is great, and Seyfried is adequate, but that is about all the film does right. Acting is generally weak and the story offers mild entertainment worth. With a superior script, Red Riding Hood could have offered a delightful retelling of its original material because the potential is there, but as it stands the film will not have many filmmakers green with envy.

5/10



Screen date: 25 March 2011
Release date: 18 March 2011

Tangled

Old is new...

Stuck in a secret tower for almost 18 years of her life, Rapunzel has been lead to believe that her special hair is a treasure which should be guarded from the world. She has never left the tower ever since being locked away, but this changes when Flynn, a thief, enters her life.

The classic tale of Rapunzel has many variations and Disney has decided to add their take to the tale by imbuing Rapunzel's hair with the ability to grant health and youth. It is through this very change that allows Disney to retread a narrative formula they used so effectively during their golden age of animation: the young princess at odds against an older, yet wicked, woman. This is introduced early in the story and constant interaction between Rapunzel and Mother Gothel ensures the audience never forgets the tyranny that has taken place. Tangled is, without a doubt, a story of self-discovery, and both Rapunzel and Flynn are evident of this growth. Naturally, this is more obvious through Rapunzel, and it comes as a breath of fresh air that Disney has allowed one of their princesses to act her age. Gone are the mature thinking and acting lead women of older stories as Rapunzel is childish, but ultimately charming. The self-discovery story arc does feel undeveloped as the credits roll, but thankfully the narrative is filled with symbolic gestures, such as the visual connection between lanterns and Rapunzel's hair, and life lessons for both children and adults alike. This is all bolstered by some strong humour that is never overused resulting in the narrative being a highlight of the film.

The voice actors do not disappoint as each is convincing as their respective character. Moore is delightful in displaying Rapunzel as a teenage girl who learns to be independent; Levi brings charisma to Flynn; while Donna Murphy ensures that Gothel is villainous but one who can manipulate that very label.

For the most part, the computer imagery achieves the desired goal of 3D variation of Disney 2D animation. Colour is rich, characters and animals are enjoyable to watch, and the complete sense of wonder is indeed present. If watched in the 3D perspective, the animation does slightly come to life but it never overly used and feels minimally underdeveloped. If there is a slight flaw to be found in the animation it would the occurrence of what appears to be unfinished textures. Many boulders, for instance, look rough at times, but this is thankfully uncommon.

This is a Disney animation through and through so the lack of sex, nudity and language is expected. Violence is tame and at times even comical, ensuring the usual Disney animation that kids can enjoy.

Tangled is a true gem for Disney and animation in general. While it lacks the overall appeal that has made Pixar animations such a treat, it is nevertheless a step forward for Disney as they retread the type of animation that made them so famous. There a few graphical niggles and the story never quite reaches the promising depth suggested by the material, but these are minor problems in what is largely an entertaining and pleasing animated venture.

9/10


Screen date: 28 January 2011
Release date: 28 January 2011

Tron: Legacy

More than just binary....

20 years after the disappearance of his father, Sam Flynn (Garrett Hedlund) receives a message from his father's rundown arcade. Upon investigating, Sam stumbles upon a secret room in which he is transported to the virtual domain of The Grid.

It has been many years since the original Tron was released and the sequel plays on this by having a narrative that addresses the very absence of a followup to Tron ,very much like the protagonist Sam has to deal with the mysterious disappearance of his father. In this sense, the audience is very much like Sam as Tron Legacy is clearly designed to appeal to a new generation of moviegoers. This does come with its own set of problem, namely that the story fails to utilize the computer programing jargon which made the original so interesting. Programming is touched upon at times, but it almost feels as if the writer's felt it may complicate the story unnecessarily. While this may be possible, it does not stop the fact that specified jargon would have created a far more convincing context for the plot, as well as create some needed depth to the themes which are presented. It is a pity because Tron Legacy has the potential for deeper discussion but it rarely presents the opportunity for such an endeavour.

Thankfully, the linear narrative is helped by an enthusiastic cast. Oscar potential is not on the agenda, but the actors are definitely watchable. The respective characters portrayed by Hedlund, Jeff Bridges and Olivia Wilde, who which the story revolves, are is likable in their ambition. Sam is a rebel who is wayward by his father's absence while Flynn yearns for nothing more but to see his son again. It is a compelling side story which brings about emotional response from both character, but unfortunately never ever convincing enough. Bridges also sports the chance to play Clu, the digital representation of Flynn. This is intriguing as ti allows Bridge's to also play a smug villain who is very different to that of Flynn. It is, however, disappointing to find Tron himself pretty much absent from the film considering how important he was in aiding against the MCP of the original film. Bruce Boxleitner gets some screen-time but it would have been nice for him to get some more.

Either way, the visual and audio of the film are an absolute treat. There are some stunning uses of CGI and special effects that create an impressive visual design, such as the modeling of a younger Bridges and the stark contrast between dark and light create an almost monochromatic feel. It should also be said that the use of 3D is amazingly effective, especially when helping differentiating the real world to that of The Grid. The musical score was composed by Daft Punk: their upbeat characteristic really aids the film's overall tempo allowing action sequences to feel more intense and any slow moments to be almost forgotten.

There are some sexualised women represented with tight bodysuits and profanity is hardly even mild. The film is action orientated but death sequences result in character deconstructing considering they are computer coding rather then physical beings.

Tron Legacy ends 2010 on a high note. While it lacks the ambitious nature of the original story and with acting that is not always entirely effective, Tron Legacy is nevertheless an absolute feast for the eyes and ears. The film's minor shortcomings are just that as Tron Legacy overclocks itself in presenting an entertaining experience.

8/10

Screen date: 31 December 2010
Release date: 31 December 2010

Liefling, die Movie

Bottled ambition...

December vacation proves a bounteous time for students as they leave all the worries of work and education in favour of relaxation. One such student, Jan (Bobby van Jaarsveld0 discovers that this holiday period is a life changing event when he meets Liefling Marais (Like Berning), the daughter of his professor. Jan is instantly intrigued by Liefling and begins to court her, unaware that Melanie (Marlee van der Merwe) has her eyes on him.

Modern Afrikaans cinema is generally divided into two categories: the more conservative dramas that provide an expose on Afrikaans culture and the liberal comedies that are fairly risque in nature. Liefling, die Movie tries a different approach as a musical, as it attempts to balance both traditional Afrikanerdom while appealing to the youth. The story is lighthearted and easy to follow, but it wavers with poor development, both in terms of the narrative and characters. Characters are never built up beyond stereotypes, though they are given an alternate perspective to help build some depth, and any development they do have is entirely rushed. This impacts on the story as it becomes difficult to appreciate the relationship between Jan and Liefling as ti is glazed over: the film tries to imbue the characters with a Romeo and Juliet sense of intellectual and instantaneous love but it never really clicks until much further in the film. Their are secondary love stories taking place simultaneously, though they are predictable and unnecessarily take away screentime from the couple that matters.

The acting is, on a whole, a stronger quality of the film, but not by much. Primary characters have enough zest for you to care about them while secondary characters merely enjoy themselves instead of really gelling with the material. This is not entirely problematic as the casual nature of the acting does go hand-in-hand with the carefree atmosphere provided. It is difficult to pick out individuals as no one really outshines anyone else. That said, where Bobby and Lika lack in experience, they make up for in energy.

As expected of a South African film of this kind the film quality is lacking. It is factor that can be overlooked but this does not stop some strange choreography choices. There is the odd scene among every few songs which comes across as downright silly in comparison with the rest due to lazy editing and poor choreography. Thankfully, this occurs only occasionally as the remainder of the film is filled with musical segments, though they are lacking in passion when compared to the likes of High School Musical or Phantom of the Opera.

While this may seem strange to say, there is just too many musical numbers and very little downtime between them. At many intervals a handful of songs will be packed right next to one another with little context connecting them. In fact, there is such an urgency to cramming the film with songs many scenes which should include basic dialogue become musical. One such scene revolves around Liefling being awaken by her mother just for her to break into song about how she wishes to have a husband and that only an Afrikaner man will do. Yes, it ends on a humourous note, but it shows the inability of the filmmakers to strengthen the music with some normative dialogue sequences.

While more conservative than liberal, Liefling, die Movie is pretty much void of any objectionable content.

Liefling, die Movie is an intriguing avenue of exploration for Afrikaans films in a commercial sense for the entire South African audiences. One need not be Afrikaans to appreciate the simple story and music presented, but the film is not without some glaring issues which hold it back. The accumulation of too much music is the biggest culprit which effects the rest of the issues: characters are underdeveloped fail to accompany the lighthearted story into something more. That said, Liefling, die Movie is by no means a poor film, but one which is drowned in the overzealous enthusiasm of its creators.

6/10

Screen date: 21 November 2010
Release date: 19 November 2010

(Movie poster provided by iGeek)

TGS 2010: Sony Conference Overview

Playstation3

Software
3D support:
-Disaster 4: Summer Memories, Everybody's Golf, Final Fantasy 14, Gran Turismo 5, Metal Gear Solid Rising

Ape Escape Fury! Fury!:
- anime cutscenes.

Dynasty Warriors 7
- Developed only for PS3.

Firmware 3.5:
-3D bluray support.
-21 September.

Gran Turismo 5:
-My Home service: accessible from web and a hub for accessing messages, albums, friends list.
-Weather effects: rain and snow shown.
-Night time racing.
-X1 Prototype vehicle in game.

Gundam Musou 3:
-Cel shaded art style.
-December release for Japan.

Ico/ Shadow of the Colossus:
-HD Port for PS3.

Ni no Kuni:
-2011 release in Japan.
-No assets used from DS version of game.

Project Dark:
-Developed by From Software.
-Design philosophy similar to Demon's Souls.
-2011 release.
-PS3 exclusive.

The Last Guardian:
-2011 release.

Yakuza: Of the End:
-Fight Zombies.

Hardware
320gb:
-21 October release in Japan.



-------------------------------------


Playstation Portable

Software
3rd Birthday:
-Possible vehicle and turret sequences included

Cardboard Warmachines:
-Anime sequences, cross media with an anime version.

Dissidia 012 Final Fantasy:
-Spring 2011 in Japan.

Kingdom Hearts: Birth By Sleep Final Mix:
-January release in Japan.

Hardware
AKB48:
23 December release in Japan.

Monster Hunter:
-Special bundle for release of Monster Hunter 3rd.