The tagline on the poster of a film says a lot about it. When it announces to the world that it’s going to “Smack Destiny in the Face”, it probably isn’t going to take itself too seriously.
Hot Rod is the story of Rod Kimble, an aspiring stuntman trying to step into the great shoes left behind by his father, a man Rod believes to be one of the greatest stuntmen of all time. One of his greatest goals in life is to earn the respect of his step-father Frank (Ian McShane), which apparently will be achieved by “beating the crap out of him”. This goal is a long way from being realised and time is running out as Frank’s health is deteriorating. To save his life, Rod decides to pull off a series of publicised stunts to earn money for his operation, whilst fighting for the affections of his love interest Denise (Isla Fisher) with her boyfriend Jonathan (Will Arnett), with the ultimate aim of getting Frank back to full health so he can have a fair fight with him.
“Who wants to see me do a big-ass stunt?”
Admittedly, the premise is somewhat flimsy when written out like that, but it’s a film that defies expectations. It tempts you to set the bar low, aims low, but yet somehow works. Many critics hate films that ask the viewer to accept what they’re seeing at face value. Indeed, it is usually a recipe for disaster (see Freddy Got Fingered, a film I consider to be one of the worst ever made). On the rare occasion that a studio gets it right, the results can be hilarious.
It was written initially by Pam Brady (South Park, Team America) for Will Ferrell. After a period of production hell, it was released by Paramount for use by The Lonely Island, who at the time were rapidly gaining popularity through their work on Saturday Night Live. It’s hard to see Will Ferrell in Samberg’s lead role, likely because Samberg has evidently evolved the character way beyond the original concept.
Hot Rod was a commercial failure at the time of release, exactly eight years ago today. The critics weren’t too kind either. It has since taken on something of a cult following. If you’ve ever heard someone say “cool beans”, “Hi I’m Rod and I like to party”, “Hwhiskey”, “I’m too legit to quit” or “ultimate punch”, then it’s quite possible you’ve let a cult quote slip right over your head. Throughout the film there are highly memorable scenes, not least the many failed stunts Rod attempts and the Footloose parody. At times it’s as quotable as Anchorman, perhaps the epitome of modern cult comedies.
When films like this misfire, studios can end up with a total embarrassment on their hands. When they get it spot on, as they have here, it can be pure comedy gold. As with most cult comedies it won’t be for everyone, but it would be criminal not to try it. It’s legit.
One of the highlights of the Late Mizoguchi boxset, and indeed Mizoguchi’s entire career, is the film Akasen Chitai. Literally translated as “red-line district”, the film concentrates on the legal brothels of post-war Tokyo. Two months after its release a groundbreaking law was passed in Japan that made prostitution illegal in Japan, putting an end to the “red-line” and “blue-line” zones that had operated up to that point. Mizoguchi would die in August of the same year whilst developing his next film “An Osaka Story” (later directed by Kōzaburō Yoshimura). This Akasen Chitai would prove to be his final film.
The five stars of a five-star film.
The film follows the fortunes of five prostitutes working in Dreamland, a legal brothel, contemplating their future should the Diet pass a law to make their profession illegal. The five lead characters – Yasumi (Akayo Wakao), Hanae (Michiyo Kogure), Yumeko (Aiko Mimasu), Yorie (Hiroko Machida) and Mickey (Machiko Kyô) – all form a central part of the plot in different portions of the film.
Hanae has arguably the most heart-breaking story. Trying to make ends meet to support a young child, her husband suffers from depression and suicidal tendencies as his inferiority engulfs his being. She is not a natural in her profession as her colleagues and if often criticised for her “scruffy” appearance. The only thing she fears more than her job is the possibility that she will lose her job in the near future. It is a complex and depressing sub-plot that
Conversely, the glamorous Yasumi is a compulsive liar who is playing on the emotions of her most devoted client to get him to buy her presents and give her monetary hand outs. It takes a skilled director to convince the audience to find sympathy for such a character, but that he does.
It is Mickey that eventually becomes the focal point of the plot. She arrives as a young and confident new employee at Dreamland and immediately proves popular amongst the clientele. Whilst her colleagues are all working out of desperation and a hope for a better life, it later transpires that Mickey has runaway from the home of her successful business-owning father. The scene in which he arrives to take Mickey home and avoid a family scandal is perhaps the film’s most powerful and memorable, full of elements of the mise en scène Mizoguchi was so famous for.
Whilst the overarching message is that of depression and desolation, the the film is effective because the characters are believable. There are also elements of humour littered throughout. For example, when the aging Yorie discovers one of her frequent clients with the younger Mickey. An argument ensues and the client calls her a whore, to which her response is “If I’m a whore then what does that make you?”, setting up the perfect response: “I’m the client!”
It may not have been his planned swansong, but Akasen Chitai is an excellent way to bookend the career of a masterful director.
Akasen Chitai is available as part of the late Mizoguchi boxset, though you may find the price of the DVD a little more palatable.
Partly as story about criminal gangs, partly a love story and partly social commentary, Pigs and Battleships succeeds in many ways. Perhaps its biggest success is being a vehicle for Imamura to stick two fingers up at the Nikkatsu Corporation, who had forced him to product uncharacteristically light fare (such as Nishi-Ginza Station), returning to the electric edginess hinted at in his debut picture Stolen Desire (also featured here).
This tone would be the cornerstone of a rich career in the film industry and Pigs & Battleships was the first time the world saw what Imamura was capable of. The unexpected controversy coupled with a spiraling budget led to Imamura being banned from directing by Nikkatsu for two years.
The plot of the film revolves around the frictional relationship between Kinta (Hiroyuki Nagato) and Haruko (Jitsuko Yoshimura). Kinta is a member of the local yakuza gang who are hatching a plan to farm and sell pork to the occupying US Naval Forces. Haruko is desperate for them both to move away from the tricky environment they both live in; she is two-months pregnant and still being sold by her mother for dates with US sailors. Kinta, though, is his own man and wants to make a name for himself and thus avoid becoming a slave to the wage.
A wonderful new put-down enters our lives.
Sinsaku Himeda’s cinematography contributes to a beautiful-looking picture and, coupled with some wonderfully-realised characterisation by Imamura, the film is extremely accessible and enjoyable even for those without an affinity for Japanese political films over half a century old. As the film progresses, the focus shifts from Kinta to Haruko, with the storyline almost outgrowing the former’s immature and selfish outlook to focus on Haruko’s determination to find a better life. This is the overarching statement achieved in the film, with Imamura drawing on his own experiences as a black-marketeer with American soldiers to clearly point out to any viewers willing to look under the cracking façade that the post-war occupation of Japan by the US Forces with creating a disjointed and self-destructive society in which nobody could hope to build a future for themselves.
The Masters of Cinema dual-format Blu-Ray and DVD of Pigs and Battleships + Stolen Desire is available to purchase now.
Hidden away on the Masters of Cinema Blu-Ray release of The Insect Woman is the second feature film directed by Shohei Imamura, Nishi-Ginza Station. It isn’t as fondly remembered as the main feature and for good reason, featuring almost none of the hallmarks of a director who would later come to be regarded as one of the greatest in Japanese film history.
The story plays second fiddle to the music, the recurring titular song as sung by Japanese crooner Frank Nagai. You’ll be forgiven for thinking you’re about to watch one of the worst musicals of all time after the first five minutes, though thankfully the support cast only get that one chance to derail both the song and the feature. What isn’t overly evident is that it is for all intents and purposes an extended music video for Nagai’s follow-up to his previous hit “Let’s Meet in Yarakucho”, a result of Imamura’s refusal to give the song a full playthrough at any point of the film.
One of Imamura’s finest hours in film… can be found elsewhere on the same disc.
The supporting story relates in no way to the words of the song, indeed contradicting it in many ways. It tells the story of a man name Oyama (Yanagisawa Shin’ichi), whose suppression at the hands of his wife Riko (Yamaoka Hisano) leads him to bouts of daydreams of his former days in the Japanese army, particularly a dream where he is trapped on an island with a beautiful girl named Sally (Hori Kyoko). When his wife and two children take a short break, he is encouraged by his friend Dr Asada (Nishimura Ko) to go out on the town and have a one night stand whilst he has the chance, under the pretense that he will clear his head, stop daydreaming and concentrate on his life as a family man.
It has its charms at times, but the rushed pace means it is littered with unexpected jumps that are at odds with the subtly developing romance between Oyama and love interest Igarashi Yuri (also played by Hori Kyoko). Imamura’s original screenplay was probably haphazardly chopped to get the running time down. Regardless, his third film of 1958 – Endless Desire – was on the horizon and there wasn’t time to make the film work.
Nishi-Ginza Station is certainly not amongst Imamura’s finest work, but will find a place in the interests of fans of his famed later works.
The Masters of Cinema dual-format release of The Insect Woman and Nishi-Ginza Station is available to purchase now.
On 14th July 1965, NASA’s Mariner 4 spaceship performed the first flyby of Mars, returning the first ever pictures of another planet and providing Earth with closeup observations of the surface. It was a time where the world was gripped by the space race, seeing two world powers at loggerheads to prove their technological superiority.
Just one month earlier, Ken Annakin’s epic ensemble comedy Those Magnificent Men in their Flying Machines hit cinemas globally. A homage to the beginnings of manned flight, the story follows fourteen pilots in brilliant replicas of 1910 aircraft as they attempt to fly from London to Paris (via Dover) to win a £10,000 prize put up by Lord Rawnsley (Robert Mawley), a British newspaper magnate. Mixing madcap humour with a loving recreation of the excitement once felt by the world for the flying machines now seen as highly primative, the film not only captured the essence of 1910 but also the imagination of the 1965 cinema-going public.
One of the main threads that runs throughout the film is the love triangle between the magnate’s daughter Patricia Rawnsley (Sarah Miles), her fiancé Richard Mays (James Fox) and rugged American Orvil Newton (Stuart Whitman), the latter two of which are also competing in the race. This thread serves as a springboard for a small amount of humour but allows the bigger laughs to be built around this central plot.
Many of the other characters conform to the national stereotypes: the Prussian Colonel Manfred von Holstein (Gert Fröbe, fresh from his titular role as bond villain Goldfinger) can’t do anything without a set of instructions; French womaniser Pierre Dubois (Jean Pierre Cassel) spends the whole film flirting with identical women (all played by Irena Demick) from different European countries in one of the film’s best running gags; Yamamoto (Japanese megastar Yujiro Ishihara) is a well-spoken Japanese naval officer who all the competitors fear will easily win the race. Elsewhere there are rewarding cameos from Tony Hancock, Benny Hill and Eric Sykes.
The main theme tune contains a highly infectious melody that has remained in the public conscience far beyond the popularity of the film itself. Ron Goodwin’s music is introduced alongside a humorous caricatured animation provided by Ronald Searle and it serves as the perfect introduction to the film. Beware – it gets stuck in your head and will refuse to leave for days.
There’s a hint of Wacky Races throughout.
Whilst the concept behind Those Magnificent Men in their Flying Machines closely follows It’s A Mad, Mad, Mad, Mad World – released two years earlier in 1963 – to dismiss it as a carbon copy is to do it a disservice. There’s more on offer here than a simple rehash.
It also spawned a sequel that would be more easily associated to this film but for the fact its name was changed for most releases from Those Daring Young Men in Their Jaunty Jalopies to Monte Carlo or Bust. That film has a nearly identical premise, with many reprised roles, but is set around cars rather than planes.
There’s plenty on offer here to warrant a first viewing and those that grew up with it won’t be disappointed by revisiting it.
Those Magnificent Men and Their Flying Machines is available to buy now from Amazon on extortionate Blu-ray or DVD.
[Note] Huge thanks to Ahoy Small Fry for the recommendation on this!
One of Wilder’s less fondly remembered films, “One, Two, Three” treads safe ground for Wilder by being adapted into a Hollywood blockbuster comedy from a European play (in this case the 1929 Hungarian one-act play “Egy, Kettő, Három” by Fenenc Molnár). It stars James Cagney as C.R. “Mac” MacNamara, the general manager of Coca-Cola’s operations in West Berlin, tasked with looking after his manager’s teenage daughter Scarlett Hazeltine (Pamela Tiffin) for a brief period as she visits the city. Seeing it as his chance to impress his boss Wendell P. Hazeltine (Howard St. John) and be handed a golden opportunity to take over operations in London, Mac sees it quickly unravel in the hands of a precocious 17-year-old girl, her East Berlin revolutionary fiancée Otto (Horst Buchholz) and a smattering of bad luck MacGuffins along the way.
There’s a reason why this film isn’t popular anymore. The jokes tend to point towards poking fun at former Nazi officers, caricatured communists and a disjointed society recovering from devastation. Considering Wilder himself lost three close family members in the war and only escaped the Nazi onslaught by some good fortune, however, it is perhaps incorrect to dismiss it as being simply dated. Wilder had a motive to make this film, which is in deep contrast to his former documentary short Death Mills – he wanted to bring his unique blend of humour to a topic close to his heart.
It is unfortunate, then, that the jokes themselves fall short on so many occasions. Wilder achieved timelessness in many of his feature films but the sort of slapstick fast-paced humour seen here hasn’t aged well. It’s actually hard to see what joy 1961 audiences would have found in its farcical plot.
“Are we there yet?” “No, there are still fifteen minutes of dated jokes to go, son.”
There is some deep-seated commercialism on show too. The film is entirely set in and around Coca-Cola’s operations in West Berlin, providing ample opportunity for product placement. Not wishing to spoil the punchline to the final joke, the one reference at this point to Pepsi-Cola underlines the focus on advertising Coca-Cola. There’s no evidence to suggest there was a sponsorship deal with them, but in the modern age of cinema this kind of product placement has become tiresome so it is retrospectively detrimental to the integrity of the film.
It’s fast paced and hard to keep up with but die-hard Wilder fans will find some enjoyment here. Just don’t seek it out hoping for anything special.
The First Film is an explorative documentary film that follows writer, producer, director and presenter David Nicholas Wilkinson in his quest to determine whether or not the first film footage ever recorded was done so in Leeds on 14th October 1888. The footage at the centre of the film is titled Roundhay Garden Scene, filmed by the Frenchman Louis Le Prince. It lasts only a few seconds but is possibly one of the most important breakthroughs in cinematic history.
Wilkinson explores the background of this footage and its claim to being either the first ever recorded film footage or simply the earliest surviving film footage. He also looks into the strange disappearance of Le Prince on 16th September 1890 on a train from Dijon to Paris, a disappearance that meant the argument of Le Prince being the inventor of the moving image cameras had lost its most important voice, paving the way for Thomas Edison to go down in the history books as the inventor of the movie camera. Things get very suspicious when the death of his son Adolphe in an unusual hunting incident in July 1901 lays his argument to rest.
A groundbreaking piece of cinematic history
When I caught up with David Nicholas Wilkinson to discuss the film, he reflected on the underwhelming appearance of the location as it stands today, a discovery that produces one of the most memorable scenes in the film.
“One of the first shots we filmed was of me finding the original location of the scene. I had to laugh. I had no idea what to expect but a cul-de-sac is about as banal a setting as I could imagine.” His presenting style is infectious even when he encounters disappointments like these, such is his passion for the subject matter. He remains upbeat despite such adversity: “I had hoped for something to be left, even if it was a tree.”
A key fact that the film explores is whether or not a photograph in a French morgue is that of Le Prince. It shows only the face of a deceased man who looks remarkably like the groundbreaking filmmaker, but David is not convinced. “I don’t really think it’s him. In 1890 the average height of a man in France was around 5ft 6in. Le Prince was actually 6ft 4in. In the accompanying notes for the photograph, anything unusual or out of the ordinary had been recorded for each person, though it was very scant in general. If it was definitely him it would have been recorded.”
Only one shot that had to be re-filmed, which meant both David and his co-writer Irfan Shan had to try their hand at acting surprised at discovering Le Prince’s grave. “He never wanted to be in it, but he knew most of the answers and stopped me making mistakes.”
The last-minute curveball
As we come to the end of the film, a late revelation throws the argument up in the air again through a discovery by Laurie Schneider. As David explains, “We had to delay. Everyone wanted me to cut it but once I knew what I’d found out about it I knew it was vital to the story.” The fact David’s discoveries are captured on camera means the audience goes on the journey with him, leaving the story open to these kinds of curveballs throughout.
Whilst the film explores the three most plausible explanations for the disappearance of Le Prince, David explains that there are many more doing the rounds. “There are around ten theories about what happened. One theory is that he was a spy for both Britain and USA during a time when there was a threat of a second French Revolution. Another is that he was filming snuff films with Jack The Ripper…” As he tails off there is something in his voice that gives the impression he doesn’t quite believe these avenues of thought.
It is clearly a labour of love and he has produced a compelling argument on what was likely a relatively small budget. One source of frustration for him came from the British Film Institution. “I went for a BFI distribution loan, which would allow me to visit colleges and universities around the UK. I had agreements with thirty out of a planned fifty and saw it as a great way to get the truth around. I was turned down because it was deemed “too educational”. I’m sure their remit is to promote the British film industry. I can’t come up with a tangible reason for it. Maybe they don’t believe me.”
David’s relentless passion for the project is infectious.
The driving force is Wilkinson himself and it becomes very easy to get wrapped up in his determined narrative. This determination comes despite concerns about the film’s viability. “It was a big worry because it had been rejected so many times. I’d been advised not to do it, but I knew people would be interested in this story.” It appears he is correct in this thought given the amount of coverage it is now getting in national newspapers. “It’s a forgotten story and an important part of our history as a film-making nation. People will now know the Le Prince name. In fact, the widespread coverage means the story is getting out even to people who haven’t seen the film.”
“The film has been thirty-three years in the making”, he states, referring to that point being the first time he pitched it to the BBC in 1982. “I’ve laid it to rest now though. Now that it’s out there I can move on. It’s often the case with filmmakers that the one project we’re really passionate about is the one that never gets made. People go decades without making a project and I often believe that they don’t really want it to get made.” It’s lucky that David’s one project was this one and we’re lucky to be able to hear the story, albeit 125 years late. The story deserved to be told and now it deserves to be seen.
The First Film is on limited release now, with the following cinemas offering screenings over the next month.
July
03.07.15 – Regent Street Cinema London
04.07.15 – Regent Street Cinema London
08.07.15 – Gate Cinema London
11.07.15 – Galway Film Fleadh – Ireland
14.07.15 – Triskel Arts Centre, Cork – Ireland
15.07.15 – IFI, Dublin – Ireland
16.07.15 – Queens Film Theatre, Belfast
20.07.15 – Greenwich Picturehouse London
23.07.15 – Ritzy, Brixton, London
26.07.15 – Cambridge Picturehouse
28.07.15 – Norden Farm, Maidenhead
30.07.15 – Kingston Arts Centre
August
01.08.15 – Bath Picturehouse
03.08.15 – Home Manchester
05.08.15 – Vue Leeds
06.08.15 – City Screen, York
07.08.15 – Sheffield Showroom
09:08:15 – Hebden Bridge Picture House
13.08.15 – Electric Palace, Hastings
18:08:15 – Picture House, Uckfield
Billy Wilder’s 1955 romantic comedy The Seven Year Itch has proved to be one of his most popular films. It was his first pairing with Marilyn Monroe and whilst it fails to hit the peaks of 1959’s Some Like It Hot, it still has enough redeeming qualities to warrant its popularity.
The film concerns married man Richard Sherman (Tom Ewell), who is experiencing what psychologists refer to as the seven year itch – after seven years of marriage many experience discomfort brought on by extended monogamous relationships. Richard becomes infatuated with a girl (Monroe) living above his apartment whilst his wife and child visit Maine for the summer to escape the Manhattan heat. As he tangles himself up in his own mind his tendency to daydream takes over, a matter exacerbated by his increasing closeness to his new friend.
Marilyn Monroe is a breath of fresh air when she first appears.
It is these daydreams that provide most of the laughs. As the film progresses they become more surreal and the window into Richard’s mind becomes a portal to a place full of fear and panic. Ewell’s performance can feel a little forced at times and the actor fails to endear Sherman to the viewers, an essential requirement when we’re watching him attempt to commit adultery. Perhaps his acting was better suited to the Broadway stages where the subtleties of emotion need to be overplayed to ensure the back row sees it. After an estimated 900 performances in the role it would be hard to unlearn that. This would ultimately prove to be his defining role.
The script is the perfect platform for Monroe to unleash the naïve and bubbly persona that served her so well throughout her career. It works on this level and she’s a breath of fresh air when she first appears.
A discussion about this film can’t go very far without mentioning the famous subway air vent scene, where Monroe’s dress flies up in the breeze created by the train passing by underneath. It is perhaps one of the most iconic shots in any film ever released. It doesn’t quintessentially add or detract from the story itself, so if you’re watching just for that scene you may be a little underwhelmed. Indeed, you may never see what you hope for – the famous full-length photo the world is familiar with was taken at the original shoot, which was unusable due to crowd commotion. The scene later had to be recreated in a studio. At no point does the full-length shot appear.
The film was actually name-checked in Sabrina, Billy Wilder’s previous film released a year earlier. It’s hard to resist comparing the two films. Side-by-side, this doesn’t really come close to the magic audiences had seen when Audrey Hepburn wowed the world by pairing her timeless beauty with a sublime acting performance. Monroe was never an actress of the same calibre as Hepburn and this isn’t helped by a much more shallow script.
The Seven Year Itch is available to buy on Blu-Ray now.
So this year’s San Diego Comic Con has come to a close for another year. As usual, there were trailers aplenty. Here’s a selection of some of the more interesting ones.
The Walking Dead – Season 6 trailer
I’ve been reading the comic books of The Walking Dead and I’m currently about six comics ahead of the break point of the last season. Whilst the recent stories in the TV show have held pretty true to the comics, I’m hoping they take a divergence from the original stories soon. The trailer suggests this is the case as I’m having difficulty matching it up. Looks absolutely tremendous, with the focus appearing to be a difference of opinion between Rick and pretty much the entire group.
Fear The Walking Dead
On a similar theme, there’s going to be a new spin-off series to The Walking Dead titled Fear The Walking Dead. It follows a completely different set of characters though is set in the same universe. It’s a sort of prequel to the series and focuses on one Los Angeles family as the zombie apocalypse breaks out. It looks very similar to World War Z, but with Robert Kirkman on board it will doubtless have all the magic required to make it work.
Adventure Time stop motion episode Bad Jubies
One episode from the upcoming Season 7 of Adventure Time is going to be stop motion 3D. Looks pretty interesting. Jake, Finn and the gang are facing bad weather and are also made of play dough! Disaster is imminent. Whether it will be canon or not remains to be seen.
Superman v Batman: Dawn of Justice – Extended Trailer
Expanding on the previous trailer and giving us a glimpse of the finer details of the plot and some new characters (including Jesse Eisenberg’s Lex Luther), this trailer is huge news. I’m willing to give this movie a chance and I think most are. It is the film that everyone has wanted to see for a long time. And, dare I say it, I didn’t think Man of Steel was a bad film at all.
Star Wars: The Force Awakens – Comic Con Reel
“Real sets, practical effects” opens the behind-the-scenes footage reel for the new Star Wars film. Those four words are all any fan has wanted since the underwhelming Episodes I-III. Well, I guess “No Jar Jar Binks” comes a close second. This is footage that just gets me massively excited. There is finally going to be a great Star Wars film released in my lifetime, knocking Caravan of Courage into second place.
Ash v Evil Dead
Will it be terrible? Probably. The new TV series puts Bruce Campbell back into the thick of it as mankind’s only hope against the Deadite uprising. It looks corny but will be good for some laughs.
Deadpool – Leaked Trailer
There’s some shady footage of the Deadpool trailer doing the rounds. I’m not going to link to it but it looks tremendous. Go seek it out.
The latest entry into the Yoshi game series, Yoshi’s Woolly World, has been released in Europe and Japan as a Wii U exclusive. Due to a delay in the release of the Wii U Legend of Zelda game it is also getting a little more focus as one of two big games released by Nintendo this summer, the other being the unexpectedly popular Splatoon, released in May of this year.
The game is set in a thoroughly gorgeous knitted world made entirely of wool. The aim of the game is to take control of Yoshi and rescue your friends following an attack by the evil wizard Kamek, who has turned the rest of the Yoshi species into balls of yarn.
If you’re looking for a challenge, you’re in the wrong place.
Gameplay
If you’re picking this up as a fan of any of the Wii U Mario games and hoping for a new challenge, you may well be bitterly disappointed. The core gameplay is very slow in pace. The lack of time-limit gives players the opportunity to appreciate the environment around them, which sets it apart from, say, New Luigi Bros U, which gives a 100 second time-limit to each level and ensures you have no time to look around at any point. There is no way to significantly speed up a playthrough, at least not until all the collectables have been discovered.
Another factor that means players have an easy ride is the fact there is no way to die. If Yoshi meets his demise, he simply respawns at a convenient position earlier in the level. This respawning has been commonplace in the increasingly forgiving world of video games – especially those considered to be for hardcore gamers – for the last few years but has been conspicuous in its absence in the Mario franchise. It’s a disappointment to see it here and with no lives to manage it is lacking in any concern for success at all.
Remarkably, there is also an additional Mellow Mode, which allows players to fly through the stages. Literally. Yoshi grows wings and takes flight to find all the collectables and avoid all of the obstacles in half the time. Fantastic.
The only thing keeping this from being a very easy interpretation of a Mario-esque 2D platformer is the inclusion of four different collectables. To fully complete each stage you must collect five balls of yarn, five flower heads, finish the stage with full health (you start each stage with half-health) and collect twenty stamp tokens. It’s quite a lazy way to make a game challenging but it does ensure that there’s a degree of replayability.
With its handmade feel it looks very similar to the Wii game Kirby’s Epic Yarn / 毛糸のカービィ, probably because it is from the same development house, Good-Feel. Indeed, they also share a producer in Etsunobu Ebisu and the same composer in Tomoya Tomita. That game itself was inspired at least in part by Yoshi’s Story on the Nintendo 64, so it’s nice the design has come full circle. If there is one redeeming factor it is the wonderfully realised world it inhabits.
Amiibo Support
The amiibo support is minimal at best. All that can be accessed is a reskinning of the controlled character with unusual character colours. It’s a nice touch but doesn’t really add much after the initial chuckle (which lasts around two seconds).
The amiibo support is minimal at best.
The amiibo functionality isn’t clearly explained in-game. It is activated by tapping an amiibo on the gamepad (the one with the screen) during the playing of a stage. In single player, this causes an additional second Yoshi to appear to assist Player 1. In Co-op mode, Player 1 Yoshi will simply be reskinned. The amiibo can also be activated in the amiibo hut on the main map.
Summary
It’s difficult to determine how popular this game will be. It definitely has a market out there. It is perfect for younger players and will undoubtedly be enjoyed by parents wanting some entertainment for them to enjoy with their children. For those players who enjoyed the likes of Champions Road in the excellent Super Mario 3D World, there’s not much to be found here.
Yoshi’s Woolly World is available to purchase in Japan and Europe now. It will be released in USA in October 2015.
Cinema, etc. 