Why is it so difficult to create a decent mowe tie-in game? Many have tried. most have failed. while Go/deneye and Alien v Predator remain the pinnacle of cellLIIOid-based gaming.

Now we have Monsters. Inc. based on Pixar's fantastic animated movie. Even/thing is in place. The lead double act are playable. the story is good. the sense of humour is ancient and yet the net result is woeful. The game COhSists of \‘randering poorly created levels. scaring robot children by hammering a few buttons. and. em. that's it.

This is as basic as it gets and Subsequently as dull. lt looks like it's been built using a generic graphics engine. ‘.‘J|Ill none of the comic detail that made the movie such a hit. Not to mention the non-sOundalike voices. poor animation and dodgy camerawork. Which is a real shame because this will sell a lot of copies. ultimately disappointing a lot of Monsters. Inc. fans. yOung and old.

(lain Da/idsoni


Ecco The Dolphin (PS? Sony 5.89.99) Are yOu Ecco-friendly’? Herdy Gerdy (P82 Eidos £139.99; Strange but fun.

Parappa The Rapper 2 (PS2 Sony 5739.95); The coolest cartoon critter is back.

Rez (P82 SOIty $739.99, Wild shoot 'em up.

Headhunter (PS’. Sony l.\'3f).§)9/ Nothing to do With (Bllll)l()‘/.’llf:lll agencies.

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HARD DRINKIN’ LINCOLN k/toonz/lincoln/lincoln _main.html

The Great En‘anCIpator is back. And he's out of his head on boo/e. Here is a '.'.ieek!‘,r updated series of cartoons portraying the life o‘ Abe Lincoln apparently x'xithout any accuracy. This he puts the 'ass' ii :to assass'itatioit. ‘.'.’lTllSl unratching a film '.'.'|Tll A! P; c'no pia, :i‘g Luncolr‘ getthg shot. Yot. get the g zitci‘al idea.

TRANSPORT 2000 http://www.transport

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Wildly unrestrained, gloriously camp, lewd as hell

called ins. the first film untritten and directed by anante pioneer Hayao Miyazaki. ‘one of the greatest advei‘ture movies et a: time'. Now that's extravagant but the cheeky escapades of international gentleman thief Lupin and his sidekick Jigen certziIihly make for an entertacing romp. Felon-rang a bungled hoist the pair track a wotonoas co'..interfeiter to his Bavar'ai‘t-style castle in a tale that's Visually ai‘d thematically indebted to Tint/n and Chitty Chilly Bang Bang. Not for the kids though as this wise-ass adventure contains adult overtones and some cussing. llvlanga DVD retaili iCatherine Bromleyi

Moulin Rouge ought to go out with a government health warning: ‘Not for the faint-hearted.‘ Baz Luhrmann’s follow-up to William Shakespeare’s Romeo + Juliet is a wildly unrestrained, gloriously camp, lewd-as-hell love story that reinvents the musical, from the golden age of Hollywood‘s song and dance spectaculars upwards. The setting is the eponymous dancehalI-cum-brothel of late 19th century Paris, although Luhrmann has transformed the Moulin Rouge, with its absinthe—drinking can—can dancers and sweltering, moustached impresario Harold Zidler (Jim Broadbent), into the rave capital of Europe. Into this den of iniquitous pleasure comes Christian (Ewan McGregor), a young poet with a big heart, brought there by the dwarf Toulouse-Lautrec (John Leguizamo) to flog his songs to Zidler. Mistaking Christian for wealthy weasel The Duke (Richard Roxburgh), Zidler introduces Christian to Satine (Nicole Kidman), a dancer loaded with seductive talents up to the task of securing much- needed finance for the nightclub from the money man. Christian admits who he really is to Satine and they fall in love. . . but will love conquer all or

will the The Duke buy his way into Satine’s heart?

Spiralling around this fairytale myth is a barrage of imagery, all manic camerawork and digital pyrotechnics. And from the opening can-can routine to the closing Indian-themed dance number, the costumes and sets are incredibly extravagant. But the most breathtaking liberties of all are taken with the 20th century pop music soundtrack, and this is not simply anachronism. In one scene. song lyrics become lines of dialogue spoken— sung between the lovers. It‘s almost opera.

There’s no middle-ground with Luhrmann‘s film; you’ll either hate it or abandon yourself to it. And if you do, like the inhabitants of the Moulin

Rouge, it’ll leave you intoxicated with pleasure. (Mile

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