![]() ![]() With all the adventure elements and mini games, it almost feels like a missing link between Shenmue and Yakuza. You even get to fight classic characters like Andore and Cammy in the fighting arena. On the outside, yes, it looks like another edgy open world game, but there’s a bit of spirit lying underneath. There’s an Arcade mode too, which is more the style of the original games – no fetch quests, just straightforward, linear, two-player brawling. While some of the extra moves found in the Story mode are gone, the fixed camera lets you concentrate of smashing skulls instead of finding the right camera angle. ![]() Unfortunately, you’re required to play through the Story mode to access more levels, plus there aren’t any continues, making this mode rather difficult. We’ve plumped for the latter, just to be a bit more cineaste about it all, and gone with as eclectic a selection of titles from different eras, regions and genres as we could. But we reserve the right to pit Uggie and Toto against Rin Tin Tin and Arthur from " Beginners" against Dug from " Up" and Mr Smith from " The Awful Truth" in another feature someday. For now, allow us to present to you, bright eyed, floppy eared and panting from having sprinted across the whole park carrying it between our teeth like a Very Good Boy, this selection of 15 Great Films About Dogs. Mexican helmer Alejandro Gonz á lez I ñá rritu is now a Best Original Screenplay, Best Director, and Best Picture Oscar-winner thanks to “ Birdman,” but he got his start not thanks to the avian population of the world, but the canine. The director’s tripartite directorial debut following three separate stories in Mexico City that aren’t linked by all that much, beyond Iñárritu’s trademark misery, and dogs. There’s Cofi, who belongs to Gael Garc í a Bernal’s lovelorn Octavio, who uses his pet in dogfighting so he can run away with his brother’s wife, and then who later ends up in the hands of hitman Emilio Echevarr í a, and there’s Richie, who belongs to injured supermodel Goya Toledo, and becomes lost under the floorboards of her boyfriend’s apartment. It’s an anxious watch for dog-lovers, and Iñárritu and writer Guillermo Arriaga never quite draw the stories together as we might hope. Yet it’s made with such visceral energy and power that you don’t mind the relative lack of substance: it’s as wrenching and impressive a directorial debut as has been made this century, and one that even then suggested that Iñárritu might one day be Oscar-podium bound. ![]() With the company’s well of fairy tales running temporarily dry, animals-in-peril became something of a trend for Disney in the 1960s and 1970s, with films like “ The Aristocats” and “ The Rescuers,” and it was all kicked off by “ Lady & The Tramp,” the animation giant’s first true romantic comedy, and a damn effective one at that. The film details the romance between pampered cocker spaniel, Lady ( Barbara Luddy), and streetwise, cynical stray Tramp ( Larry Roberts). Free of the breathless plotting of the company’s modern-day fare, it’s a languid, almost loose picture that sweetly lets the burgeoning unlikely pairing happen organically, culminating in that all-time classic spaghetti scene, arguably cinema’s most iconic image of romance not involving John Cusack and a boombox. There’s a charming specificity to the film’s Southern turn-of-the-century setting, and the supporting characters are all winners, particularly Peggy Lee’s vaguely Blanche DuBois-ish faded belle (her straight-up racist Siamese cats strike the film’s sourest note these days, but the chanteuse’s songs more than make up for it). ![]()
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