This Macau-set cops-and-robbers thriller even has a little fun by introducing him as a retired cop turned dog walker called Wong, surrounded by a motley pack of pooches that he marshals expertly through the streets. Once the best surveillance man on the force, Wong's observational skills have not faded a jot, as he proves by recounting exactly which of his doggie charges pooped in what order. More importantly, he can still take on young ruffians a third of his age,
Paul Thomas Anderson is one of Hollywood's great time travelers. He took us to turn-of-the-century oil country in There Will Be Blood, the 1950s London fashion world in Phantom Thread, and the '70s San Fernando Valley, twice, in Boogie Nights and Licorice Pizza. One Battle After Another is Anderson's first film in ages set in the present day, and partly for that reason, it grabs you and even smacks you in the face in a way that his other movies haven't.
Hades, which left early access back in 2020, is one of the best and most influential roguelikes of all time, so there's perhaps no greater sign of the talent at Supergiant Games that their own follow-up, Hades II, blows it out of the water. The formula is refined into its ultimate form; the combat is more complex (but just as intuitive), and the story is grander and more thrilling.
From start to finish, it offers hardly a moment of reprieve from its fast-paced parkour and swordplay. That can be a lot to handle, and it's certainly not my preferred mode in most games, but the total focus that it demands becomes so absorbing it's hard not to find some appeal in it. Getting into the flow of Ghostrunner 2 means letting everything else slip out of mind so you can better concentrate on what's in front of you.
Assassin's Creed Mirage trades expansive RPG mechanics for a straightforward action experience, focusing on stealth gameplay set in 9th-century Baghdad, completing in around a dozen hours.
In 'Predator: Badlands,' a young Yautja named Dek, portrayed by Dimitrius Schuster-Koloamatangi, becomes the protagonist, marking a departure from the franchise's traditional storytelling.
Angela Barnes, our director, is amazing because she leans so heavily into the narrative. With Ironheart, episode 5 starts, and the first third is action sequences. I feel some directors get lost in the 'let's do this cool action' thing, and all of the punching, kicking, and fighting becomes a blur. But Angela really wanted to root our action in the story.