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‘Ride Along 2’ an Unfunny Snooze of a Trip

Ride_Along_2_posterThe moment I got into my car I started playing N.W.A. in order to cleanse Ice Cube’s sins from being in this movie.

“Ride Along 2” is the brilliantly titled sequel to 2014’s “Ride Along,” and features Kevin Hart and Ice Cube returning as “Kevin Hart and Ice Cube as cops” brothers-in-law. This time around the duo heads to Miami in order to take down a drug lord (Benjamin Bratt). Tim Story returns to direct.

The first “Ride Along” wasn’t an *awful* film, but it was number 10 on my 2014 worst list because it was so unfunny and relatively boring. However compared to this sequel, the first film is a comedy buddy cop goldmine.

The script of this movie has such bottom-denominator and barrel-scrapping humor that adds yawns to an already stale plotline. Pretty much every joke is about Kevin Hart’s height, Olivia Munn looking like a man (which, no?) or some random reference that doesn’t make sense (like a character yelling “hey, Hurt Locker!” at a gunman). The few chuckles, and chuckles may be too generous a term, smile is more like it, come from Ice Cube’s facial expressions, or lack thereof.

As for Kevin Hart, he has arguably made two good comedies in his career, “Wedding Ringer” and “Think Like a Man,” and what those two films have in common are he plays a toned-down version of himself; he isn’t running around screaming. Well in “Ride Along 2” Hart is back on his run-and-scream grind and after the first five minutes it wears out its welcome (and there’s still 95 minutes left to endure after that).

Oh, and let’s talk about that 101 minute runtime. When the credits began and the lights came up my friend and I turned to each other and said, “So, like, that felt like three hours, right?” It really is so boring and so uneventful and so not funny that it just drags along to a merciful end.

Speaking of the end, I will give the film props because the final five minutes of the film are actually genuinely funny, and act as a saving grace; but that saving grace comes in the form of a bullet to the head saving the audience from the painfully not entertaining film they had just endured. With some fast editing and banter, those final minutes made me wish and wonder what the whole film could have been like had it been like that (likely still not good, but surely better).

“Ride Along 2” isn’t aggressively awful like “Fantastic Four,” but there aren’t enough laughs to be considered a success as a comedy or enough thrills to work as a cop movie. It is nothing more than a cash grab by the studio, and while it has already faded from my memory (a mere two hours later), I am almost certain I will be talking about this film again in December…when I write my list of 2016’s worst films.

Critics Rating: 3/10

Variety

Variety

’13 Hours’ a Genuine, Albeit Not Good Enough, Attempt by Bay

13_Hours_posterA Michael Bay movie in January. This could get very ugly very quick…

“13 Hours: The Secret Soldiers of Benghazi” is the true story of six members of a security team who fought to defend the American diplomatic compound in Benghazi during the September 2012 attack. James Badge Dale, John Krasinski, and Max Martini star as Bay directs.

Like I said above, there was no reason to have confidence walking into “13 Hours.” Michael Bay doesn’t exactly have a great track record, and January is a known dumping ground for Hollywood’s unwanted trash. However to be fair, the release date was selected to piggyback off the success of January wide releases “American Sniper” and “Lone Survivor,” two other “AMERICA!” war movies, and maybe being a true story would make Bay try a little harder to respect the real-life people [ignores how he horrible botched “Pearl Harbor” and “Pain & Gain”]. And I will give Bay credit: “13 Hours” is an almost genuine attempt to make an actual coherent film, but he only half-succeeds at it.

“13 Hours” is somewhat of a tough movie to critique. It means well and looks great, but it falls victim to Bay’s flaws, as well as action film clichés in general. But let’s start with the good.

The film looks like a normal Bay film (Dutch angles and wide shots), which I have never had a problem with. Cinematographer Dion Beebe is, for most of the runtime, able to shoot clear action sequences that don’t incorporate the normal shaky-cam that plagues Hollywood action films, and all the sun-soaked and moon-kissed scenery really do look great.

I will also give Bay and company props for not leaning (at least blatantly) too far to either side of the political spectrum. They could have named names or had a scene showing the aftermath of the attack and the subsequent investigations, however they simply state the truth of what happened, that no one sent help to the compound, and let you draw your own conclusions whether it was justified or not.

The characters of the film hold off becoming Michael Bay cartoons for as long as they can, and are able to until the film’s climax. By that I mean there isn’t too much overacting or awkward forced humor, and there isn’t a single character here simply for comedy relief. However once all the dust of battle settles we get a few instances of unbelievable behavior and awkward attempts to lighten the mood.

For the first two acts of the movie I was being entertained enough. I realized I was not watching high art, but I appreciated the genuine attempt from Bay, and seeing Americans shoot nameless bad guys has always made for good cinema, right? But then the film’s final 30 minutes happen, and I really just wanted the movie to end. This film has no right to be 144 minutes long, and the final act is mostly the soldiers sitting on a rooftop in an attempt by the film to act as character development. Problem is we’ve already spent two hours with these men; we already know or don’t know all we need to about them, so forcing us lines about how they miss their families or really want come pancakes is just useless filler.

“13 Hours: The Secret Soldiers of Benghazi” is pretty much the living embodiment of the expression “close but no cigar.” I give Bay props for trying to make a good movie, and it looks great, but the story is just too convoluted when it should be straightforward, and it wears out its welcome before the climax of the film even arrives. The film is good by Michael Bay and January standards, but that doesn’t make it worth a recommendation.

Critics Rating: 5/10

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Top 10 Best Films of 2015

2015 gave us a few great films, a handful of good ones, and then a sea of average and trash. But this list is about happy times and celebrating the good, so here are my Top 10 films from this past year. As with any top 10 list, and movie reviews in general, it is a bit subjective, but this list is the only one that is 100% accurate, so. Let’s get it started.

 

Honorable Mention: Black Mass

It was a bit disheartening that this was good and not great, but it was an engaging mob movie, and Johnny Depp’s best performance in years (and almost makes up for “Mortdecai”).

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10.) 99 Homes

Haven’t heard of this movie? Yeah, neither had I until about a month ago. But after I saw Michael Shannon earn a Golden Globe nomination, I was curious. This is an entertaining yet depressing, exciting yet slow-burning film centered on the crash of the housing market (like “Big Short” but actually interesting), and offers great performances from Shannon and Andrew Garfield.

 

9.) Cop Car

Another one probably not too many people saw, this was an insanely intense film about a possibly corrupt cop trying to get his stolen police cruiser back from two young boys. Director Jon Watts, who is set to direct the (*sigh*) newest Spider-Man reboot, creates such a tension-filled 90 minute ride that the anticlimactic ending is more than forgivable.

 

8.) Spy

Melissa McCarthy continued her streak of following a trash movie (“Tammy”) with a good movie (this), which is great for this movie but means her next film, “The Boss”, is going to be awful. Oh well. At least this one had a hilarious Jason Statham.

Variety

Variety

 

7.) Star Wars: The Force Awakens

I don’t know if you’ve heard of this film, not too many people saw this one either, but it is a little indie set in a galaxy far, far away. It more than erased the prequels from our minds, and offered an immensely entertaining sci-fi action summer blockbuster…in the month of December. Also, it gave us perhaps the best villain of the Star Wars series in Kylo Ren. Maybe.

 

6.) Spotlight

Perhaps the best journalism film of all-time. Tightly wound, the film does an excellent job at making you angry at the ignorance and arrogance of the Catholic Church, and offers a career performance from Rachel McAdams.

 

5.) Creed

It looked like both the Rocky franchise and Sylvester Stallone’s career were down for the count when in steps Michael B. Jordan to save the day. Full of inspiring quotes, nostalgic moments and amazing fight sequences (including one match that was shot in one long take!!!), this was one of 2015’s best surprises, on top of better films.

 

4.) Straight Outta Compton

Speaking of surprises, there probably weren’t too many people who thought a biopic about a controversial rap group would be very good, especially after films like “Notorious” were just OK. But N.W.A.’s story was one that had incredible energy and dedicated performances (especially an underrated Jason Mitchell), and reintroduced their music to an entirely new generation.

Straight Outta Compton

 

3.) Jurassic World

I loved this movie. It was the first time in I don’t know how long since I left the theater with a sense of childhood wonderment. Chris Pratt is at his Chris Pratt-iest which is a great thing, and honestly this may be one of the better summer blockbusters of all-time, as well as the third best film of 2015. For most of the year, it sat at the number one slot, before a second viewing and a last minute addition bumped it down a few.

 

2.) Steve Jobs

The best part about this film was its amazing script by Aaron Sorkin, but the performances of Michael Fassbender, Kate Winselt and even Seth Rogen more than elevated this beyond standard biopic level. While he looks nothing like him, Fassbender made Steve Jobs come alive for just a few more hours, and even though he isn’t smoking weed with James Franco, Rogen turns in a sweet and still amusing performance as Woz, including a very touching monologue. The energy of this film is insane, and it only got better with a second viewing.

 

1.) The Revenant

I think this is it. I think Leo will finally win his Oscar, because ho-ly-crap. DiCaprio is amazing in this film, as is every supporting actor. And it looks amazing, like oh my god. Words really don’t do this film justice; you just need to see it. It blew me away and I cannot wait to see it again. It is the best film of 2015, hands down, and, with any luck, will finally get Leo that big shiny trophy that has for so long escaped his grasp.

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‘Spotlight’ a Well-Acted, Infuriating True Story

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Spotlight_(film)_posterMichael Keaton probably should’ve started this whole “drama acting” thing a while ago. He could have a lot more Oscar nominations.

“Spotlight” tells the true story of the Boston Globe team of journalists (Keaton, Mark Ruffalo, Rachel McAdams and Brian d’Arcy James) that worked to uncover the child abuse by Catholic priests, and the extents the church went through to cover it up. Tom McCarthy directs and co-writes.

Keaton earned his first career Oscar nomination for last year’s “Birdman,” and many think he could score another nomination for his work here. Keaton, along with pretty much the entire cast, does solid and nuanced work in “Spotlight,” a film that is more about the little moment and aftertaste it leaves in your mouth than the wide scope.

The story told in “Spotlight” is something many people may have heard of, but few likely know the extents the journalists went through in order to uncover the conspiracy involving the Catholic Church. As a journalism major, I appreciate a film that shows the work newspapers go through to break a story and the inner-conflicts they have on how and when to run them.

Director McCarthy does a very good job subtly showing the power and influence the Church has over the institutions and families of Boston, by doing things like showing churches in the background of many establishing shots. The script, which he co-wrote with Josh Singer, has some nice interplay between the characters, and gives each actor an individual scene to shine.

The real stars of the show to me, however, are Mark Ruffalo and Stanley Tucci. Ruffalo is arguably the lead of the ensemble cast, given the character with most emotional weight. He has one scene that will likely be used as his “For Your Consideration” reel, and the scenes that he and a small but effective Tucci share are when the film is at its best.

The film does take a little while to get going (the team kicks the story around before they realize the magnitude it could have), and at times people throwing out names of so many priests, lawyers, and victims, half of which never get a face placed to them, can get confusing in-the-moment.

The film will make you angry that so little was done to stop and punish the priests who abused so many children, but that is just good filmmaking. At the end of the film is lists cities that have since had sex abuse scandals brought up against the Church, and it’s enormous.

“Spotlight” isn’t groundbreaking cinema, and it isn’t intense throughout the entire runtime as it is in some individual moments, but those moments that do excel are as effective and entertaining as anything at the movies this year.

Critics Rating: 8/10

Variety

Variety

‘Hunger Games’ Ends on a Whimper

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Mockingjay_Part_2_PosterThey say all good things must end. In the case of the “Hunger Games” franchise, the mediocre must finish, as well.

“The Hunger Games: Mockingjay – Part 2” (gosh, that is a pain to type) is the fourth and final film in the “Hunger Games” franchise (until they decide to give it a prequel/sequel/reboot, because, money). It again stars Jennifer Lawrence as Katniss Everdeen, the reluctant face of a revolution. She must lead the remaining rebels on one final assault against the corrupt Capital, led by President Snow (Donald Sutherland). The film also stars Julianne Moore, Josh Hutcherson, Liam Hemsworth and Philip Seymour Hoffman (in his final role) and Francis Lawrence directs.

Unlike a lot of people, I actually enjoyed “Mockingjay – Part 1.” I thought all the behind-the-scenes political and propaganda of a revolution was very interesting, and thought it was building up to something great. I was wrong, though…

The biggest problem with “Mockingjay – Part 2” is that it really feels like an unnecessary movie. Hollywood has this notion that the final book of a series needs to be broken up into two movies, but in reality it does nothing but add a few extra hundred million dollars into their pockets. Harry Potter was able to get away with it because everyone loved that series, but Part 1 was arguably the worst film of the franchise. I only saw Part 2 of Twilight’s finales, but I really doubt those are books with enough content to break into multiple films. And of course The Hobbit was a 300 page book broken into three overlong films that really no one wanted, but each made over $900 million, so Hollywood is just laughing at us. But I’m getting off track.

Much of “Mockingjay – Part 2” feels like forced dialogue or action for the sake of action, both to try and justify a second film (it clocks in at an inexcusable 137 minutes). Some of the fight sequences are appreciated and well-done; there are tiny nuggets throughout the film that are what have made the “Hunger Games” series fun, or what we have been promised. But all too often the film is just walking around and repeating plot points, like how they don’t know if they can trust Peeta because he is still brainwashed by the Capital. That is a topic of conversation about seven times.

Lawrence is again the star of the show, but Katniss is again a borderline unlikable heroine that you really don’t care about her besides the fact she’s Jennifer Lawrence. Woody Harrelson and Philip Seymour Hoffman (RIP) give two short but nuanced performances, and some of the revolution storylines are interesting.

It really is hard (and in a way, pointless) to review a film like this because you likely won’t see it if you haven’t seen the other ones in the series, and if you have seen those films then you already know if you’re going to see it or not. So if you were planning on seeing “The Hunger Games: Mockingjay – Part 2” then you should know there is a lot of sitting around, then a lot of running, and almost none of it is interesting. By the time (I thought) the film was wrapping up it really drags on, and well outwears any welcome the previous films had bought it.

It is a disappointing ending to a decent franchise, and I seeing as its Thanksgiving week, let’s just say I’m thankful I won’t have to endure any more of this overstretched series next November.

Critics Rating: 4/10

Variety

Variety

Rogen Steals the Show in ‘Night Before’

TheNightBefore2015posterA Christmas stoner comedy? I guess you could say Seth Rogen and company are taking the term “high holidays” quite literally! [clears throat] OK, on with the review.

“The Night Before” stars Seth Rogen, Joseph Gordon-Levitt, and Anthony Mackie as three lifelong friends who have a tradition of going out and getting drunk on Christmas Eve. With Rogen expecting a baby and Mackie having become too famous of an athlete, the trio decides this bash shall be their last, and set out to attend the biggest party in New York City. Jonathan Levine directs.

The last time Levine directed Gordon-Levitt and Rogen was “50/50” in 2011, and that was one of the best films of that year. Levine was able to walk the thin line of comedy and drama without being pandering or schmaltzy, and he again finds a similar balance in this raunchy and sweet, if not a tad under-satisfying, Yuletide tale.

Right off the bat, one of the biggest things “Night Before” has going for it is its cast, in particular the chemistry between the three leads. They really feel like genuine friends and have good give-and-take among each other. The supporting cast, with comedians like Jillian Bell, Nathan Fielder, and Mindy Kaling, all add different flavors to the film, even if some of their characters feel underused or even forced into certain scenes.

Seth Rogen is arguably the funniest man in Hollywood and he again steals the show here. Rogen is on mushrooms, cocaine, marijuana, or the combination of the three throughout most of the film, so as the movie goes on, he just gets crazier, which was great fun.

While Rogen himself is hilarious, the film itself can’t keep up. It is a very funny film however each big laugh is attributed to Rogen. Everyone else is playing second fiddle, and when Rogen isn’t on screen the energy of the film takes a noticeable dive; so in a way, Rogen’s brilliance exposes the flaws.

Really the best film to compare this to is “A Very Harold & Kumar Christmas,” not only because of the lazy fact that it’s a stoner Christmas comedy set in New York City, but because the plot runs thin after about 45 minutes and you can tell certain scenes were added or extended to get the running time up. If you are forgiving of things like this then great; it’s just my job to bring it up.

“The Night Before” isn’t the hilarious Christmas classic I wanted it to be, and it isn’t up to par with Rogen’s most recent work (not counting “The Interview,” which ironically came out last Christmas), but I’m sure I will rewatch it again next December, and if you’re feeling like getting some holiday cheer a little early, there are worse ways than watching a Seth Rogen film.

Critics Rating: 6/10

night before

Variety

Bond Is Back But He’s Been Better

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Spectre_posterI really should learn to stop getting excited for things; it only leads to heartbreak.

“Spectre” is the 24th and latest entry into the 007 franchise, with Daniel Craig returning for his fourth (and possibly final) portrayal of James Bond. This time around Bond must track down the head of a secret criminal syndicate (Christoph Waltz). Sam Mendes returns to direct and Ralph Fiennes returns as M, the head of MI6.

The opening scene of “Spectre” really is something to behold. Set in Mexico during the Day of the Dead festival, the opening sequence of the film is a four-minute single tracking shot and it is amazing. We are then treated to some more amazing cinematography (Hoyte van Hoytema replaces Roger Deakins as director of photography and doesn’t miss a beat) and a very intense fist fight that takes place in a flipping helicopter. And it is after this adrenaline rush that “Spectre” decides to take a break; a break that for the most part continues through the credits.

The problem with “Spectre” is that most of the film is just Bond following paper trails and trying to find out identities. And this would be fine if (A) the hunt was exciting, or (B) it built up to something grand. But it does neither and the ultimate payoff really wasn’t worth the 2+ hour wait.

Casting Christoph Waltz as a Bond villain should have been an instant home run. He gave us one of the best bad guys in cinema history with Hans Landa in “Inglourious Basterds,” so he should be great and menacing facing off against James Bond, right? But aside from one scene where he just sits at a table like he’s head of a school board meeting, Waltz doesn’t show up until the final 40 minutes of the film. And the few scenes he does have he is just ranting and bragging about everything bad he’s done in the past and how he’s ruined Bond’s life.

This came off as both annoying and anticlimactic, because we never really see him do anything menacing or cool (it’s like the 50-year-old who keeps talking about how good he was at varsity football) and because from a narrative perspective it is really rather lazy to have every event from the previous three films connect back to one single point.

As I said early on, the film is shot beautifully, and the set design is great as well. This is a very good looking film; Mendes and crew know what they are doing. But Bond tossing maps and loading a gun without ever shooting it can only keep us entertained for so long (there are a few action sequences but aside from one train fight they are all brief and without tension).

I was really looking forward to “Spectre” but like many films in 2015 it disappointed. It is very well crafted and some of the throwback nods to the original Bonds are welcome, but I was disinterested throughout much of the film, and since they had all the pieces to make a classic 007 romp, the letdown is even more upsetting. It’s not a bad film, and it is better than “Quantum of Solace,” but that’s like complimenting “Revenge of the Sith” for being better than “Attack of the Clones;” that bar is just set too low to hit.

Critics Rating: 5/10

Variety

Variety

Bullock Saves ‘Brand’ from Being a Crisis

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Our_Brand_Is_Crisis_(2015_film)_POSTERWell this movie may not be a crisis, but it isn’t that good, either…

“Our Brand Is Crisis” stars Sandra Bullock as a political strategist who comes out of retirement to help a Bolivia presidential candidate. Billy Bob Thornton, Anthony Mackie and Joaqium de Almeida also star as David Gordon Green directs. The film is partially based on the true story of the 2002 Bolivia election.

The film is produced by George Clooney, and was at one time supposed to feature him in the starring role as well as the director’s chair. But somewhere along the line the role went to Bullock and the character was rewritten as a woman, and we have the movie we have. The movie may have been different with Clooney in the starring role, however I can’t imagine it would have been much better. As I’m sure Clooney would have done, Bullock is the saving grace of the film, lifting it up and at some points saving it from a script that is scattershot and features major shifts in tone.

The interesting thing about Bullock in “Our Brand Is Crisis” (a role that screams Golden Globe nomination) is that she seems blissfully unaware of how poor the movie around her is. She skates along, spewing out quotes from politicians and military leaders, and occasionally gives passionate speeches. It is an interesting character and by far the best part of the movie. Every time things seem to be slowing down Bullock gives it a shot of energy, however her flare may expose the flaws the film has.

The tone of the film is all over the place. There are a few chuckles that come out of nowhere (thanks to the always likable Anthony Mackie) but the film isn’t constantly funny enough to be a comedy. On the flip side the film’s dramatic heft stems from randomly inserted story points, like Bullock’s character disclosing randomly halfway through the film that she suffers from depression; and then never touching on that topic again. There’s a point where Mackie’s character says negative ad campaigns are like a bomb, you can blow your opponent up but you don’t know where the votes are going to land. The tone of this film is a lot like that; they just set off an explosive in the genre factory and prayed things ended up in the right place (they didn’t).

Oh, and can we talk about Billy Bob Thornton’s character because what the heck was that? He plays the political adversary to Bullock and when he’s not making sexual innuendos at Bullock (a storyline that never reaches fruition), he’s coming off very uncomfortable for the viewer. And one may say that’s the point, he’s a sleaze ball; well the presidential candidate is a scumbag human, too, but at no point did I feel a sense of awkwardness just seeing his character on screen.

Some of the behind-the-scenes of political campaigns is fun, and like I said Bullock steals the show (and made me want to start researching quotations that I can spew out at random) but all too often I found myself disinterested in “Our Brand Is Crisis.”

Here’s the bottom line: I saw this film yesterday, and it already feels like it was a month ago, that’s how far this thing has already faded into my mind. If you’re a Bullock fan is this worth checking out if it’s on TV one Friday night? Sure. But to most everyone else, you’ll find the film about as fun as watching a real presidential debate; maybe less because there’s no Donald Trump.

Critics Rating: 5/10

our brand

Variety

‘Assassin’s Creed Unity’ Beautiful but Flawed

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AcunityImagine you have the recipe for an amazing cake. You’ve made cakes before and they turned out pretty good. But this time, you put the cake in the oven and then take it out way before it’s done. You coat it with frosting and dash on some sprinkles so it looks pretty, but in the end it should have stayed in the oven for longer.

That’s pretty much “Assassin’s Creed Unity”.

“Unity” is the first release of the yearly franchise to come out exclusively on the new-gen consoles. Seeing as last year’s “Black Flag” was arguably one of the best in the series (which now totals eight games including “Unity” and the old-gen only “Rogue”) and having the ability to harness all that the new hardware is capable of, “Unity” could have, and should have, been fantastic. Instead it is a pretty good game that is beautiful to look at, but often frustrating to play.

Let’s start with the campaign. Set in the midst of the French Revolution, you play as Arno Dorian. Like pretty much every other Assassin in the series, Arno joins the Assassin Brotherhood because his father figure is murdered and the Assassins take him in. Arno is a pretty fun character; he is sarcastic and witty, and at the same time charming. There were a few lines he has throughout the story that actually made me laugh. All the historical characters you meet along the way, including Napoleon and Robespierre, are as fun and interesting as usual.

The campaign itself is pretty standard AC stuff. In true “Forrest Gump” style, you are almost always in the right place at the right time to experience a major historical event (oh, how convenient Arno gets imprisoned just a few weeks before the Storming of the Bastille!). However, unlike previous games, the Revolution setting takes a backseat to Arno’s quest for revenge and his (borderline creepy) romance with his adoptive sister. I wasn’t a fan of this as the whole reason we play Assassin’s Creed games is to visit in another time period, not watch the life of a single person who lived during it.

“Unity” is more customizable and less hand-holding that any other AC game, and it really works. On top of simply buying better weapons or outfits, you can now mix and match what you’re going to run around the streets of Paris in, and every outfit gives your different abilities and skills.

Main assassination missions are now a sandbox; the game simply gives you the target and that’s it. By doing various side tasks (such as stealing keys or starting a riot) you change what kind of opportunities you have to make the kill. I loved this aspect, and it increases the game’s replay value.

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The combat system has changed from the previous two installments, and is now similar to that of ACII and Brotherhood, with the addition of a parry button. For the most part, this works. In previous AC games, no matter how many enemies surrounded you, you knew you were going to win because you could just wait to counter them all. In “Unity” the parrying system makes it more difficult to take on big crowds because you actually have to time your button mashing.

Online has changed and no longer has team deathmatch or player-versus-player modes. Instead you do missions, which is sometimes fun, at other times annoying; it’s pretty much “GTA V” online just set in Paris and with less team-killing. You carry over all the weapons and skills from the campaign, so you rely on your teammates to accomplish different things. Trouble occurs when one player in the game doesn’t have a mic, or no one in you group has a skill needed to complete an objective. The game doesn’t alert you prior as to what skills are needed, so in one instance I played through 20 minutes of a mission only having to end up quitting because no one in my game had the proper lockpick skill. Still, many of the missions are fun and a change of pace from single player.

The biggest problem with “Unity” is nothing to do with the gameplay or story, but with its design. Never before have I seen a game go from beautiful and life-like in one frame to nausea-inducing and glitchy in the next. I’m going to be honest: I have no idea how this game got greenlit for release. There were countless times I fell through the map, couldn’t make my way through the crowds of people, or saw a man on a roof shining the shoe of a guy who was on the street sitting in a chair that wasn’t there. One time I hit a guard with my pitchfork and he flew a hundred feet. Now I’m not an expert, but I don’t think any human possesses that much upper body strength.

“Assassin’s Creed Unity” is arguably among the weakest of the franchise, but I would be lying if I said I didn’t have a blast while playing it. It is for the most part a gorgeous game, with stunning recreations of real world events and structures, like the Notre Dame Cathedral. The game’s biggest flaw is that they forced the release of a product that never should have seen the light of day in its current state. The glitches and drops in frame rate really can get annoying, and at times directly affect your enjoyment of the game. “Unity” is in no way a bad game, and at times it is a great game in both scale and execution, but it is a bit of a letdown considering its historical setting and new generation capabilities.