DEREK EX MACHINA, created by author and editor Derek L.H., is a blog dedicated to exploring the effect that video games and film have on people.
Gravity Rush 2 settles with being a modest sequel. It doesn’t make big advancements upon the original, but merely expands on what the original already did well. With its new additions showing flaws and not being too substantial, Gravity Rush 2 ultimately stands as a sequel that, while solid, lacks the same “Wow” factor that its predecessor had.
Axiom Verge brings some of the best of what the Metroidvania genre has to offer: satisfying exploration, tons of collectibles, and an immersive world dripping with atmosphere. Unfortunately, Axiom Verge also brings with it some clunky combat mechanics and an inability to implement all of its tools as effectively as other standouts in this genre. But its weaknesses shouldn’t take away from what Axiom Verge is - a satisfying, intriguing adventure that is enhanced by its excellently realized world and intelligent story.
Everyone who plays Celeste will learn about how to learn and and get through hardship, which, in so doing, teaches its audience about mental health and illness, a topic that many pieces of media struggle to effectively talk about, and how it can be coped with. It is for teaching that lesson to its players that Celeste’s management of its difficulty and narrative serves can only be considered as masterful.
In a time where open world games are becoming more and more common, I feel that now is as an important a time as ever to bring into question when an open world enhances a game, and when it drags the entire game down. If this genre is to have a healthy future moving forward, it needs to be known when an open world game has mechanics that makes use of its open world and when it lacks mechanics that can cause much of its world to go ignored and uninhabited by players.
Whenever we judge any kind of experience - a movie, for example - we judge its value off of the core experience of watching that film, but with video games, it’s not as easy to do so. While many certainly do judge a game purely off of what it offers in its core gameplay (i.e. the story in a narrative-driven game, a combat system in an RPG, etc.), the side content of a game is something that I feel deserves more attention and credit. And when side content is delivered in a way that is as well-executed as Super Smash Bros. Ultimate’s offerings, it’s hard not to stop and appreciate the smaller, side-experiences that help elevate a good game into a phenomenal one.
What makes Spider-Man: Into the Spider-Verse so special to me is that a begets its audience to rethink what animation is capable of. This film could have easily adopted a live-action counterpart, or used a more traditional CG art style - but it didn’t. Why was this? Why, in this instance, did Sony choose to take a riskier and more stylistic approach when a safer, more often-used presentation would have been easier (and likely more profitable)? The answer to that…is passion.
Widows - while certainly having some excellently realized commentary on modern western culture and the increasing spread of apathy - doesn’t manage to do much you haven’t seen before in a heist film […] It’s certainly flawed, but it’s clear that this film was a product of smart and lovingly-crafted writing and direction, which alone makes it worth a watch.
Beautiful Boy creates a narrative experience that was intimate in a way that few other films are able to replicate. This film provides a refreshing and insightful look into the extent to which addiction affects family. More than anything, though, Beautiful Boy dares to show the lengths we’re willing to go to save those we care about, even when we know that it very well may be for nothing.
mid90s is a dense, intriguing film that analyzes the extent to which a generation was impacted by their surroundings in a flawed era and culture. […] Through powerful writing, great performances, and a commentary about a generation that hasn’t had many stories told about it (yet), mid90s is an examination well worth paying attention to.
First Man is an intriguing exploration of Neil Armstrong’s personal journey masked underneath his more public one that history has made everyone familiar with. While it’s perhaps Damien Chazelle’s weakest feature film, First Man still manages to impress and inspire awe.
With a screenplay that feels awkward and tonally confused, performances that either feel miscast or missing strong characterization, and a structure that feels both formulaic and dated, Venom is a corporate, mediocre mess. Given the plethora of comic-book-to-film adaptations we’ve seen this decade, there are many, many better ways to spend your time if you’re looking for an enjoyable comic book adaptation.
A Star is Born leaves a significant emotional impact to its audience, and it’s delivered in a tightly edited film with a screenplay that both trusts the performances of its actors and the intelligence of its audience. […] Whether you enjoy romances or find the genre too cliché-filled, A Star is Born is a film that simply can’t be missed.
Clock in Its Walls is an admirably imaginative and heartfelt film with a tragically underdeveloped screenplay, making for a film that, while having a strong core, isn’t a necessity for fans of the genre.
White Boy Rick tells an intriguing story in a disappointingly clumsy manner. Despite having admirable aspects to it, White Boy Rick’s lack of focus and an emotional core leaves something to be desired.
Whether you're a fan of suspense films or are on the fence of whether or not screens-only cinematography has a future, Searching is an impressive, exciting film - one that I think we'll continue to talk and think about for a long time.
Operation Finale delivers incredibly thrilling first and third acts which are unfortunately sandwiching a second act that takes a few missteps with its pacing, often lingering on some unnecessary details. Despite that, Finale manages to be an entertaining thriller that captures both an important and fascinating historical moment.
Octopath shows some slight flaws that even hardcore JRPG fans can't entirely ignore. But what Octopath gets right far outweighs what it gets wrong. If you've ever enjoyed a JRPG, new or old, the world of Octopath Traveler is a place well worth visiting.
The separation of characters' stories and the frustrating limits of the characters' interactions with one another create a narrative experience that feels very fragmented. This fragmentation causes Octopath to feel like it hosts a party of characters that happen to be going on quests that take them in the same direction, rather than a party of characters that feel like they're going on a quest together.
Very rarely do comedy films every leave a profound impact on me, and yet Sorry to Bother You has managed to do just that. Through its plethora of details, fast pace, excellent writing, and great performances around the board, it's clear to see that Sorry to Bother You was a passion project from beginning to end, and that energy radiates off the screen. It's a film that will make you laugh and also make you think about its themes of power, money, and success.
Fireworks is convinced that it's an intelligent, admirable film because it looks and sounds like one on the surface. Beyond that brittle surface, however, is a film doesn't actually do anything to earn that status. Fireworks boasts two leads that feel radically underdeveloped, and yet it still expects you to care about their relationship, even though you have no idea what would make them compatible with each other, all leading into a third act that entirely rings hollow.
