Pop star Ariana Grande will make a guest appearance in Square Enix’s free-to-play Final Fantasy mobile game, Final Fantasy: Brave Exvius, the singer announced on her Instagram account today.
It’s not clear when Grande will make her guest appearance in the Final Fantasy game or how players will be able to recruit her. We’ve reached out to Square Enix for details.
Grande’s appearance in Final Fantasy: Brave Exvius is based on her latex rabbit eared look as seen on her latest album, Dangerous Woman, and in the video for the album’s title track. Grande shared “a little peek” at her character’s sprite in motion on Instagram.
A video posted by Ariana Grande (@arianagrande) on
Final Fantasy: Brave Exvius is a free-to-play, turn-based role-playing game for Android and iOS. The RPG includes a new cast of characters and familiar Final Fantasy elements, including limit breaks and summons.
Developed by Gumi, Brave Exvius was released in Japan in 2015 and came to North America in June 2016. The game has been downloaded more than 8 million times globally, Gumi announced in November.
Update: As part of the promotion, a remix of “Touch It” by Ariana Grande will be added to the soundtrack of Brave Exvius. Preview that in the video below.
One of the most controversial elements of Rogue One: A Star Wars Story is its use of computer-generated imagery to bring back characters who appeared in a 39-year-old movie — as they appeared in that movie. The process of developing these digital recreations was difficult enough, but the ethical, legal and artistic questions surrounding it were even more thorny.
[Warning: The following contains spoilers about character appearances in Rogue One.]
Rogue One is a spinoff film, but it’s a direct prequel to the very first Star Wars movie, 1977’s Episode IV: A New Hope. The filmmakers behind Rogue One decided to use digital effects for two characters from A New Hope: Grand Moff Tarkin and Princess Leia Organa. Tarkin, the commander of the Death Star, was played in that film by Peter Cushing, who died in 1994. Carrie Fisher, who died today at the age of 60, was 19 when she donned Princess Leia’s white gown in A New Hope.
Fisher’s younger self only makes a cameo in Rogue One, appearing in the film’s final shot. However, Tarkin — referred to as Governor Tarkin in the movie — gets a lot more screen time, actually carrying on conversations with Imperial comrades such as Ben Mendelsohn’s Director Orson Krennic. As such, his CG self must bear a much greater load.
The effects specialists at Lucasfilm and Industrial Light & Magic combined live action with digital wizardry for both Tarkin and Leia. ILM chief creative officer John Knoll, who is credited alongside Gary Whitta for Rogue One’s story, described the process to the New York Times as “a super high-tech and labor-intensive version of doing makeup.”
Here’s how it worked. During the filming of Tarkin’s scenes, he was played by the British actor Guy Henry, who resembles Cushing in size and could speak reasonably similarly. Henry wore performance-capture equipment on his head, as you can see below, so his face could be replaced with the digital recreation of Tarkin’s.
Guy Henry wearing performance-capture equipment during the filming of Rogue One.Industrial Light & Magic/Lucasfilm via New York Times
The process was slightly different for Princess Leia. Initially, the camera is behind her; in that shot, she is played by the Norwegian actress Ingvild Deila. When Leia is shown from the front, it’s Deila’s hand that we see. But the character’s face, hair and costume are digital recreations based on footage from A New Hope, reports the New York Times.
In replacing Henry’s face with Tarkin’s, the animators worked hard to approximate Cushing’s original delivery. The effects take into account subtleties like the way his lips moved when he spoke a particular word. At the same time, the filmmakers did not prioritize that element of the digital performance.
“Realism had to trump likeness,” Hal Hickel, animation supervisor at ILM, told the New York Times.
The filmmakers didn’t necessarily succeed in that respect — in our Rogue One review, we said the CG for Tarkin “never quite manages to escape the realm of cartoony.” But more contentious than whether the digitally recreated Tarkin rests in the uncanny valley is the issue of choosing to use CGI to resurrect a character played by a person who is no longer alive.
Hollywood has been doing this ever since the technology made it possible; think of Nancy Marchand as Livia Soprano in the third season of The Sopranos, which aired in 2001, or Oliver Reed as Proximo in 2000’s Gladiator. One of the more high-profile instances of this came in Furious 7, in which Paul Walker appeared after his untimely death.
Rogue One’s filmmakers defended their decision, noting that it was primarily motivated by the story. The concept of the movie is based around stealing the plans to the Death Star — which Tarkin commands — and the weapon fires upon multiple planets during the film.
“If he’s not in the movie, we’re going to have to explain why he’s not in the movie,” Kiri Hart, head of development for Lucasfilm’s story group and a co-producer on Rogue One, told the New York Times.
As is noted in the credits of Rogue One, Lucasfilm also obtained permission from Cushing’s estate to recreate Tarkin for the film. Both his estate and Carrie Fisher received special thanks in the credits. But the filmmakers did consider other options in case the effects didn’t work out, such as having Tarkin appear only in a hologram or giving his dialogue to other characters.
But it sounds like a digital recreation was always the plan for Leia — even if it seems like a simple shot of the character from behind, with Deila in the iconic costume and hair buns that Fisher wore in A New Hope, would have been enough.
“To deliver on that moment of hopefulness, that is really underscored by the fact that you do get to see her face,” Hart told the New York Times. “That’s the best possible use of effects, to enhance the meaning and the emotion of the experience for the viewer.”
Ben Affleck confirmed this year that he would star in and direct Warner Bros.’ stand-alone Batman movie, but the actor recently admitted that wasn’t set in stone.
Affleck sat down with The Guardian to discuss his career and latest movie, Live by Night. During the interview, he was asked about Batman v Superman: Dawn of Justice and The Batman. Although Affleck confirmed he was on board during a panel at CinemaCon, he told The Guardian there were a few stipulations that could prevent him from going through with it.
“But it’s not a set thing and there’s no script,” Affleck answered when asked about the movie. “If it doesn’t come together in a way I think is really great I’m not going to do it.”
After Batman v Superman was released — and torn apart by the majority of critics — Affleck has been left to defend the film he made. In an interview with Fox 5 DC in October, Affleck finally addressed the criticism head-on instead of dodging the question.
“It was interesting, that movie, because it was judged not necessarily on execution so much as on its tone,” Affleck said. “People seemed to want to have a lighter tone to the movie, and I thought that was interesting because it’s subjective. Tone is not a qualitative thing. It’s subjective, right? Some tones resonate with me that might not with you.”
Affleck added that he personally loved it, but after scorching reviews and a seemingly neverending line of questioning about the poor reception, it seems like he’s being more cautious this time. Although Affleck will direct the movie and play Batman, giving him more control than most, it all depends on whether or not the script lives up to his standards. Affleck will reportedly co-write the script with Geoff Johns, one of DC’s more notable Batman writers and the head of DC Films.
Details surrounding the movie are still light, including when it’ll be released, but The Batman will be a part of DC’s Extended Cinematic Universe.
Tom Hardy is a lost, vengeful and violent man in a new clip from the actor’s upcoming series on FX, Taboo.
The series, on which Ridley Scott is executive producer, follows James Keziah Delaney (Hardy) as he returns to London in 1814 to seek revenge for his father’s mysterious death. Although FX hasn’t released too many details about the series, recent trailers have explained that Delaney returns to London as a changed, unrecognizable man after spending years in Africa.
This clip showcases just how much he’s changed. In it, he’s talking to a woman who runs a brothel about tracking down a group of men. It’s the longest look we’ve gotten of Hardy in the role yet, but it should feel familiar to those who have seen films like Locke or Mad Max: Fury Road. Hardy is calm but terrifying as he turns into a monster, threatening the woman if he doesn’t get his way.
Taboo is one of Polygon’s most anticipated new shows of 2017, and this clip gives a pretty good indication as to why that is. Hardy has proven that he’s more than capable of handling a role like this, and with Scott on board as an executive producer, it seems like a pretty good bet. Hardy created the series alongside his father, Chips Hardy, with long-time collaborator Steven Knight (Peaky Blinders) on board as showrunner.
Taboo also stars Jonathan Pryce (Game of Thrones), Oona Chaplin (Game of Thrones) and Michael Kelly (House of Cards). It will premiere on Jan. 10 at 10 p.m. ET on FX, three days after it premieres on the BBC. A trailer for the series can be seen below.
This trend started with Deadpool, a film that surpassed all of our expectations. In our review, Susana Polo said the film’s “action sequences have a palpable rhythm that gives them great clarity, its good guys are genuinely lovable and its comedy is predominantly on point.” Deadpool feels unique — a stand-out title in genre overflowing with mediocrity.
Deadpool was a refreshing change of pace and, based on the two major Golden Globe nominations the film received, we’re not the only ones who thought so.
It felt like there was a great movie being released every week as the year went on. The surprising sequel to Cloverfield, 10 Cloverfield Lane, featured strong performances from John Goodman, John Gallagher Jr. and Elizabeth Winstead and subverted expectations. In April and May, films like The Jungle Book, Captain America: Civil War and Keanu made a big impact on Polygon.
Finding Dory, Popstar: Never Stop Never Stopping, Ghostbusters, Pete’s Dragon and Kubo and the Two Strings managed to get us through the sweltering summer months. Kubo and the Two Strings, in particular, seemed to come out of nowhere. Produced by Laika Entertainment, the same company behind ParaNorman and Coraline, Kubo and the Two Strings follows a young boy with magical abilities who must stop a gaggle of evil ghosts from destroying his village. Like other projects from Laika, the film focuses on a feeling of isolation, acceptance and family.
There was a glut of blockbusters in the second half of the year, including Rogue One: A Star Wars Story, Doctor Strange and Fantastic Beasts and Where to Find Them. That doesn’t mean there weren’t a number of sensational independent films also being released, though. Manchester by the Sea, The Edge of Seventeen, and Moonlight crept up on us.
A few of Polygon’s biggest cinephiles came together to talk about the films they considered the best of 2016. This year we’ve listed our top five movies as a collective group, followed by one honorable mention from each Polygon staffer involved in the voting process.
Without further ado, here are Polygon’s best movies of 2016.
Zootopia
Zootopia is a perfect example of what sets apart Disney from most other studios. Wrapped inside the story of a young bunny who’s determined to achieve her dream of becoming a police officer is a tale of racism, prejudice and fear.
Zootopia follows Judy (Ginnifer Goodwin), a small rabbit from a rural area who moves to the metropolitan city of Zootopia after graduating from the police academy. Although she’s the first rabbit to ever be accepted onto the force, she’s treated as a novelty by her fellow officers and forced to work low-level jobs. It’s not until she decides to take matters into her own hands and help an otter track down her missing husband that she discovers the evils lying within the city.
The story escalates when Judy discovers that the city wants to jail all predator-type animals, including her new fox friend, Nick (Jason Bateman). This is where the film finds its voice and powers through a haunting message about the way we treat people who we consider dangerous. It’s a crucial lesson and, considering the events that have occurred in the past couple of years, one that we’re glad to see handled as well as it was in Zootopia.
The film is also a treasure trove of comedy. The jokes arrive continuously and never lose their zing, even when the film takes on a more serious tone. The voice acting cast is likewise spectacular, with Bateman’s apathetic Nick turning in what’s likely the best performance.
Marvel Studios/Disney
Captain America: Civil War
Captain America: Civil War feels like the movie Marvel fans have been waiting for more so than any other, including The Avengers. Based on the seven-issue limited series released between 2006 and 2007, Civil War detailed the divide of the Avengers. The movie has everything we’re looking for in a Marvel feature, including long, well-choreographed battles and banter between the characters. More importantly, it set the tone for the future of the cinematic universe.
Like Rogue One, which we’ll get to in a bit, the reason that we love Civil War as much as we do is because it acts like a war film, focusing on a divide between characters we already care about. The world is never really in jeopardy during the events of the movie, although the team definitely is.
Much like they did with Captain America: Winter Solider, directors Joe and Anthony Russo manage to intertwine the emotional drama playing out between the characters with the much-needed action sequences. Although it’s not as funny as previous films in the MCU, like Thor or Iron Man, the lack of comedy just highlights the severity of the situation. As Julia Alexander said in her review, “Civil War is Marvel’s darkest and heaviest movie to date, but that’s part of what makes it the studio’s best.”
Kubo and the Two Strings
Kubo and the Two Strings is the type of movie that stays with you long after the credits roll. The themes it incorporates, including the fear of not belonging, are relatable for everyone. Even though there’s a supernatural element, the core of the story focuses on the most human aspects, making a very large and strange movie feel oddly reassuring.
Like other Laika Entertainment films, Kubo and the Two Strings has a breathtaking aesthetic. The animation style, which feels more like Coraline than any of the studio’s other projects, is both charming and disarming at the same time. When there are bursts of magical moments on screen, ranging from dancing paper figures that Kubo conjures to deadly apparitions, it feels all encompassing.
Kubo and the Two Strings is also a great reminder that animated films made for a mainstream audience don’t need to follow the Disney or Dreamworks guidelines. Kubo has a universal story — with some magic thrown in — that makes it accessible for everyone. It was one of the most popular movies on our voting list.
Fox
Deadpool
After spending years trying to make the Deadpool movie he wanted, it’s good to see that what Ryan Reynolds and the creative team envisioned was exactly what the genre needed.
Deadpool is raunchy, unapologetic and surprisingly sexual … which is exactly what a Deadpool movie should be. This is the character that pokes fun at comic book readers while inviting them into his strange world.
Deadpool as a film could not have succeeded without Reynolds. The actor — a self-proclaimed mega fan of the character — perfectly captured Deadpool’s charming, vulgar attitude. There are some superhero movies where the actor just doesn’t feel like the comic book character they’re portraying — like Edward Norton in The Incredible Hulk. It’s a good performance, but it lacks familiarity and understanding. Reynolds’ nails his interpretation of Deadpool, and even though the film references the actor in the opening credits sequence, you never feel like you’re watching him instead of Deadpool.
Reynolds manages to stay true to the tone of the comic and its world while also ensuring there are enough quips to appease everybody. This version of Deadpool was worth the wait.
Rogue One: A Star Wars Story
Rogue One: A Star Wars Story is a prequel to Episode IV: A New Hope. It tells the story of the Rebellion squad tasked with stealing the plans to the Empire’s first Death Star. In doing so, the film manages to accomplish something very important: it treats itself like a war movie.
Rogue One doesn’t make any apologies for its dark tone. Nor does it pretend to be anything it’s not. Instead, Rogue One brings out the severity of the mission at hand and never lets the audience forget that death is an inevitable part of war. It treats the story of the Rebellion fighters with so much respect that, by the end of the film, every moment feels more emotional than the last.
The best part about Rogue One, however, is that it’s a Star Wars movie. From K-2SO to Captain Cassian Andor, Rogue One follows the Star Wars formula while still taking on a unique angle.
If this is any indication of what the Han Solo spinoff may feel like, we’re definitely excited.
Honorable Mentions
Summit Entertainment
La La Land
There are several moments early on that will make or break La La Land for you: the opening credits, a classic Hollywood cinema pastiche; Emma Stone and Ryan Gosling’s first tap dance number; the moment their “will they or won’t they?” is answered.
If you don’t have a stomach for classical romantic comedies, perhaps La La Land won’t move you in the same way it did me. La La Land is a wonderful reminder of the romantic power of film. It’s a well-worn story, but the set pieces are what make it memorable, beautiful and emotional. Emma Stone makes the movie sing — literally — while Ryan Gosling is her perfect dance partner, a combination that is easy to fall in love with.
Maybe too easy to fall in love with, as proven by my relentless sobbing at La La Land‘s end. —Allegra Frank, senior reporter
StudioCanal
April and the Extraordinary World
April and the Extraordinary World opens on the edge of the Franco-Prussian war with a family of scientists working on a super-serum for Napoleon III’s soldiers. But before they can complete their findings, something goes awry and they end up kidnapped. Left behind is their daughter, and our protagonist, April (Marion Cotillard). Years go by, and we arrive in an alternate, steampunk version of Paris in the throes of World War II.
April is hell-bent on carrying on her parents’ work and, of course, finding out what happened to them. The characteristics that define her are refreshing to see in modern cinema; she’s plucky but not chipper. Practical but not cynical. Sharp but not without empathy. And above all, she’s mistrustful of everyone except her cat, Darwin (I feel that more than anything). She spends the next decade dedicated to continuing her parents’ work, but as she uncovers secret after secret, something way more unexpected and alarming comes into view.
April and the Extraordinary World has all the whimsy of a steampunk world while retaining dark undertones — there are mechanical rat spies, robot pigeons and sentient lizards. Ominous messages about resource management and climate change are layered into the smoke and grit of Paris.
I was actually surprised at how emotionally invested I became during the course of the film. There’s something earnest in the way April chooses to move through the world, and you can’t help but want to see what she does next. It’s a journey that you shouldn’t miss, even if it did fly under the radar for many. —Ashley Oh, social media manager
Walt Disney Studios
Moana
As I said in my review: When Disney animators, a great cast of Pacific Islander performers, a Pacific Islander screenwriter, and Lin-freaking-Manuel Miranda team up to make a musical, there should be no surprise that we wind up with something fantastic.
Moana still surprised me.
I wasn’t shocked the music was good — it was everything we’ve come to expect from Miranda’s talents. It’s hard to say whether Moana’s musical peak was Flight of the Conchords‘ Jemaine Clement doing David Bowie doing a jewelry-hoarding crab’s show stopping number, or our protagonist’s realization of self in a seamless three-way medley of previous songs that each represent a part of her newly affirmed identity.
No, Moana surprised me in how deeply and consistently its singular theme — identity — was woven into every character. As our hero, Moana’s literal journey leads her to discover that what had always set her apart from her people was actually bringing her closer to them while giving her the tools to teach them who they really are.
But it’s not just her. “Who am I without my external trappings?” is the core question of Dwayne Johnson’s Maui. “I am my external trappings” is the core message of Tamatoa — the aforementioned crab. The climax of the film turns on the reveal of a character’s unexpected true identity, and Moana’s understanding that a person’s identity is more than the trauma that was inflicted upon them.
If Moana simply had excellent music, writing, performances or design, it would live up to the standard of your average Disney release. It’s the best Disney musical in a decade because it has all of these. —Susana Polo, entertainment editor
A24
Moonlight
It’s rare that I’m left completely speechless by a movie. Most of the time, I have an immediate reaction to what I just watched, ready to give my unasked opinion to anyone who will listen. For a movie to leave me quiet, unable to offer a single thought because I’m still trying to work through how it left me feeling, means it’s either spectacular or abysmal.
Moonlight falls into the former category.
Moonlight tells three different stories about a boy, Chiron, in different stages of his life; as a child, a teenager and finally as an adult. Each part of the story is broken up into distinct chapters on screen and, while the difficulties Chiron faces in each segment change, the themes stay the same throughout. The movie handles self-realization, coming of age, addiction, poverty and crime better than any film I can recall in recent times. There’s an unfiltered honesty about what it means to “be a man” in today’s society and, most importantly, the film dedicates itself to breaking down those preconceived notions.
For a movie about the unquestioned, faux-masculinity that young men often learn, the brilliance is in its decision to remain vulnerable. Although Chiron wants to fit in and act tough, like his friend Kevin, he’s not ashamed to admit that he cries often about his situation at home. The point the film stresses throughout is that men are human beings; they’re allowed to be emotional and feel pain without having to mask it, even if we as a society say otherwise.
Moonlight handles the complexity of an issue not often discussed at length with responsibility and empathy, allowing each character to come to their own realization about the type of person they want to be. Moonlight is a movie about self-discovery, like so many before it, and yet it doesn’t feel like anything we’ve ever seen. —Julia Alexander, entertainment reporter
Screen Gems
Don’t Breathe
When we think of horror and thriller films, often the threat is larger than life. Instead of relying on big monsters, shambling zombies or demonic forces, Don’t Breathe uses more realistic fears to keep you on the edge of your seat: darkness, claustrophobia and up close and personal violence.
The impending doom is one creaky floorboard away. One misstep in the absolute dark. One audible whimper of fear. Don’t Breathe explores what happens when a group of thieves get plunged into a situation that spirals out of control. And in the end, we’re left questioning who is the villain: the thieves who came to rob a blind man or the blind man who is harboring a dark secret?
Don’t Breathe explores the depth of this question while maintaining a tense plot in the confines of a two-story house. It does more inside the four walls of a small, Detroit home than even the biggest names in horror could do inside a vast forest, a deserted spacecraft or inside the dreams of horny teenagers. The characters are morally compromised, their situation is inescapable and depending on how you look at the plot, everyone or no one is the true villain.
Don’t Breathe is one of my favorite films of the year because it manages to take a simple premise and escalates the tension constantly while keeping the audience on eggshells. Each character is a walking series of bad decisions and moral compromises. The film mixes them all together with a twist near the final act that stops you dead in your tracks — at which point the film slams on the gas until its end. —Jeff Ramos, engagement editor
What are you looking forward to playing? Did we miss anything? Let us know in the comments.
Note: This is not a comprehensive list of releases and only games with specific dates are listed below. Some games are announced for January but have no firm release date.
Jan. 17:
Fate/Extella: The Umbral Star (PlayStation 4 and PlayStation Vita) — Set after the events in the 2010 PSP dungeon crawler, this single-player action game puts you in the role of a “master” and lets you team up with a spirit “servant” to battle various enemies. The servants will be divided into eight classes, each featuring a different fighting style, including melee and magic abilities.
Jan. 20:
Dragon Quest 8: Journey of the Cursed King (Nintendo 3DS) — This 3DS port of the PlayStation 2 classic will include updates like more story content, full voice acting, two additional playable characters, new side quests, StreetPass functionality and an alternate ending. There’s also a fast-forward feature to cut down on time spent in random battles, as well as a quick save option.
Gravity Rush 2 (PlayStation 4) — For fans of the the original Gravity Rush, the biggest change in the sequel is the introduction of new gravity modes that shift how main character Kat controls and what combat moves she has access to. Check out our glowing preview, the demo, 15 minutes of gameplay and the 17-minute animation which fills in the story between the two games.
Jan. 24:
Kingdom Hearts HD 2.8 Final Chapter Prologue (PlayStation 4) — This is a collection of three games that each take place during different parts of the overall story. There’s Dream Drop Distance, originally released for Nintendo 3DS; that one comes right before the still-unscheduled Kingdom Hearts 3. Kingdom Hearts χ Back Cover is a series of cutscenes culled from the eponymous mobile game, set far before the first Kingdom Hearts. Finally, the compilation’s unique new inclusion, 0.2: Birth By Sleep — A Fragmentary Passage, also takes place before Kingdom Hearts 3, although, in our interview, Tai Yasue didn’t specify whether that meant after Dream Drop Distance or parallel to it. (It’s after.) Check out the trailer which features Kingdom Hearts 3 footage.
Resident Evil 7: Biohazard (PlayStation 4, Windows PC and Xbox One) — Resident Evil 7 Biohazard is something of a departure for the series. It’s in first-person perspective but Capcom has promised that familiar Resident Evil gameplay tropes — green herbs, for example — will return in the new game as found in one of a 10-part video tease. Check out the $179.99 deluxe edition and play the final demo, out now for PlayStation 4.
Tales of Berseria (PlayStation 4 and Windows PC) — At the 2016 Tokyo Game Show we were able to play through the first-ever English demo of the game and see how the localization is shaping up. The demo focused on Berseria’s battle system, which follows the series’ standard of being fast-paced and action-packed. In our eight minutes with the game, we learned some combos, smashed some monsters in the face and took on a powerful boss.
Yakuza 0 (PlayStation 4) — Yakuza 0 takes the player to the decadence of Tokyo in the late 1980s and is set up as a prequel to Sega’s action-brawler gangster franchise. Check out the E3 2016 trailer and the “Business Edition” of the game.
Jan. 30:
Disgaea 2 (Linux, MacOS and Windows PC) — This second entry in the Disgaea franchise joins the original, Disgaea: Hour of Darkness, which was ported to Steam in February. Similar to that release, the Steam version of Disgaea 2 has been retitled Disgaea 2 PC. Unlike the first game, though, Disgaea 2 PC will also be compatible with Mac and Steam Machines.
Double Dragon 4 (PlayStation 4 and Windows PC) — In observance of the 30th anniversary of Double Dragon‘s arcade launch, the first numbered sequel in 27 years will be released. The original development staff from the arcade version is on this project, including producer Takaomi Kaneko, director Yoshihisa Kishimoto, character designer Koji Ogata, composer Kazunaka Yamane, and programmer Kei Oyama. Check out our feature on Kishimoto and the Double Dragon series.
Jan. 31:
Digimon World: Next Order (PlayStation 4) — Digimon World: Next Order, a console port of the Japan-only PlayStation Vita title, begins when players are sucked into the Digital World to discover it is under siege by Machinedramons. Rescued by two Digimon from impending doom, players must forge forward with their Digimon partners and journey through the Digital World to discover the origins of the Machinedramon scourge and find a way back to the real world. Check out the announcement trailer.
