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[Review] ‘Alien: Blackout’ Delivers Pocket Horror With Some Small Issues
Amanda Ripley returns in an even more claustrophobic slice of sci-fi horror. Read our Alien Blackout review to see if it continues the good work of Isolation on a new platform.
There’s no denying that Alien: Blackout arrives under a bit of a cloud. Rumors, hints, and teases for the first Alien game after 2014’s superb Alien Isolation led to a certain level of expectation. That level was lowered somewhat when it was found that while Blackout does continue the story of Amanda Ripley, daughter of the legendary Ellen Ripley, it’s not exactly a direct sequel to Isolation, rather, it’s a mobile game. That in itself is perfectly fine, and Blackout does the important thing in making this feel like an Alien game should, but that doesn’t help it shake the looming shadow of the game that preceded it.
What Alien: Blackout brings in terms of gameplay is quite the departure. Taking the framework of kid’s horror fave Five Nights at Freddy’s, a light dusting of puzzling, and draping the Alien aesthetic over it, Alien: Blackout sees you back in the sneakers of Amanda Ripley, who fresh from the hell she encountered aboard Sevastopol station, finds herself in another Xenomorph-shaped mess, and ends up hiding in an air duct, guiding other survivors to safety and leading them to key cards and items important to their continued existence.
This is done via two methods. Watching through the cameras Amanda has hacked into, and checking with the interactive security floor plan. The floor plan is the most useful part as it allows you to see where exactly the survivors are, and you can easily activate doors to block the Xenomorph off or trigger sensors to keep an eye on where it’s coming from.. The downside is you can’t see where the Xeno itself is bar a vague red flicker in the general direction it is coming from. Flicking to the security cameras can give you a horrifying glimpse at the beast stalking the crew, and you can in some instances shut a door in the nick of time.
Naturally, there’s a slight catch to these murder avoidance puzzles. You only have a limited amount of power to play with, meaning you have to open and close doors to juggle the power, and it usually means it’ll leave an easy opening for the Xeno to come through. This is relatively easy to manage early on and you should be able to rescue everyone on a level with minimal stress, but the juggling gets increasingly more hectic and you soon learn a sacrifice needs to be made if you’re going to progress.
It’s wickedly macabre that you can essentially lure a poor crew member to their death just to save another, but wholly necessary at times. Perhaps a little too necessary, as there doesn’t appear to be any design or story choice behind this, it seems more like an oversight that allows you to cheese it through tougher stages. Not a bad thing, but having an easy way out belittles the puzzles challenge to some degree.
The alien can also find your hiding spot, so you have to occasionally look up from your work to check it isn’t barrelling down the ductwork to eviscerate you. You can shut yourself in if it does come calling, but that acts almost as an EMP for the systems on the level the survivors are on, meaning the doors are temporarily all unlocked, leaving them vulnerable to a sticky end.
As you can imagine, things can get intense and panicky. The formula is tried and trusted, and in its own small way, Alien: Blackout captures the fear factor of Alien Isolation, albeit in a more stationary form. The highly expendable nature of the survivors take an edge off that tension, diluting the horror that the game is trying so hard to maintain.
There’s also not enough background on the space station and its history. That was a big part of what made Alien Isolation‘s Sevastopol a part of the atmosphere. It had such a rich background to be discovered, and its internal issues being explained made the pressure-cooker hostility of the place really bubble over with the introduction of the Xenomorph. There’s still some background here, just not as much as I’d have liked.
Alien: Blackout is still a pretty good game though. For a reasonable price you get a competent, occasionally scary (headphones really help) Alien game, and while it’s natural to feel disappointment at it not being Alien Isolation 2, it’s not Colonial Marines 2 either. If anything, it’s one of the better Alien efforts from the past few decades.
Alien Blackout review code provided by the publisher
Alien Blackout is out now on the App Store, Google Play and the Amazon Appstore.
Carlo Collodi’s The Adventures of Pinocchio was written nearly 150 years ago, and yet it’s still considered to be the ultimate parable about the fundamental human experience of learning right from wrong and the importance of empathy.
Its message is still evergreen, and the reason that two separate big-budget Pinocchio films by auteur directors were released in 2022. And yet, it’s a story that also has creepy enough bones to fuel a really potent horror film when properly executed (please watch Pinocchio’s Revenge if you’ve never seen that piece of dark, gonzo filmmaking before).
The Twisted Childhood Universe – or TCU, if we must call it this – has largely been more hits than misses. That being said, Pinocchio Unstrung isn’t just a surprisingly entertaining horror film, but it’s a genuine love letter to practical effects and old-fashioned animatronics instead of being some cheap CG slog. Rhys Frake-Wakefield has crafted a disturbing reimagining of Pinocchio that doesn’t get its strings tied up in knots.
In Pinocchio Unstrung, James (Cameron Bell) loses his mother and best friend, so he’s sent to live with his grandfather Geppetto (Richard Brake, 3 From Hell), who seems detached and isn’t necessarily the best role model for this grieving boy. There’s actually a fairly interesting idea here by having both Pinocchio (Jude Evan Lloyd) and a real boy living with Geppetto, while Pinocchio forms a frightening attachment towards James.
Geppetto built Pinocchio for James so he can have a friend, rather than it being a creation to heal his own sadness and loneliness. This heads into even more tragic territory for this vulnerable boy that feels like something that’s more akin to The Boy, Child’s Play, or even the later Puppet Master sequels, rather than Pinocchio. This Pinocchio wants more than to just be a real boy. He wants to be James’ “best mate” and a real friend, which is achieved by killing the various people who have wronged him in life and gotten in James’ way.
Going against Geppetto’s wishes, James brings Pinocchio to school and chaotic carnage ensues as the student body – particularly James’ bullies – become casualties in this macabre learning experience. The messaging is very heavy-handed, which is not unexpected for a film of this nature, especially one that’s pulling from such a moralistic fairy tale in the first place that’s designed to teach lessons.
To the film’s credit, there are some genuinely creepy and unnerving scenes during the film’s first act when Pinocchio bonds with James and demonstrates a fascination with his anatomy and how they’re different. Pinocchio also acquires a checklist of body parts, skin, teeth, hair, eyes, and items to become a real boy. This, while formulaic, is the right style of creepy for this film. It provides a clear focus and trajectory for what’s to come, but also facilitates a lot of gruesome gore.
There are actually some decent gore effects that are well-executed, even if some of them have weak and unearned setups. Obviously, a film like this is trying to be tongue-in-cheek and doesn’t strive to be taken as high art, but it could work a little harder to build to its gory setpieces instead of just throwing them out there and making it seem like it doesn’t care about anything else. A second pass could have helped refine a lot of these elements and turned this into something truly great, rather than operating like a clunky series of poorly written scenes that are designed to string together exaggerated deaths.
These vicious kills are very Terrifier–coded and, on their own, aren’t bad and should please the gorehounds in the audience. There’s an inspired “nose kill” that Pinocchio Unstrung holds off on, but is worth the wait. Pinocchio Unstrung is arguably the goriest of the TCU films, which is a step in the right direction, even if other elements are lacking. In the end, there’s effort here, and director Frake-Waterfield is genuinely trying, even if some of his instincts are misguided or need to be sharpened. For instance, there’s a running throughline where Pinocchio wishes that he had had a penis.
Robert Englund delivers a committed and satisfying performance as Cricket, Pinocchio’s de facto conscience. However, Frake-Wakefield also includes a ridiculous “Wood Mother” concept, which is another wooden abomination who is there to get in Pinocchio’s head. The Wood Mother is presumably meant to be a Blue Fairy analogue, but she just feels extraneous and an excuse to show off more animatronics. Somehow all this leads into a story about rebirth and immortality as the film broadens its scope, which doesn’t always work in its favor. There are plenty of ideas here that are interesting, but ultimately half-baked.
When it comes to Pinocchio himself, the titular puppet’s design initially feels a little lacking, albeit still creepy. Fortunately, it actively improves throughout the film as Pinocchio builds upon his anatomy and “becomes” more human. It also doesn’t hurt that Jude Evan Lloyd is actually a competent actor and a worthy foil for Pinocchio.
Most importantly, it looks like a real movie and features some compelling lighting, which is more than what some of the earlier Twisted Childhood Universe films can claim.
To this point, Pinocchio Unstrung proudly boasts that the film is all done with practical effects and puppetry, which makes such a difference. There’d be no point in even making this movie if it didn’t commit to this practical authenticity. It’s not just a better movie because of this, but it reflects a respect and passion for the craft that’s lacking in other TCU entries. It’d be very easy to cut corners here, and so it’s appreciated that it puts in the effort and goes the extra mile. There’s also a really effective shadow puppetry introduction that’s reminiscent of 2021’s Candyman and a great way to kick off the movie.
Pinocchio Unstrung gradually finds its rhythm and confidence as it goes on, just like a young boy who is figuring out his way in the world. It develops a genuine personality by its end, and there are some weird, unique scenes that really unexpectedly go off the rails and transcend anything from the other TCU films. The place that the film ends is legitimately shocking and feels completely different than the type of movie that’s initially teased. This sort of radical pivot is worth it and turns Pinocchio Unstrung into something weird and wonderful, even if a lot of it still doesn’t work. It deserves credit for taking such big swings, even when they’re unsuccessful.
Those who were left empty from Winnie the Pooh: Blood and Honey and its various offshoots may be pleasantly surprised by this. It actually manages to say something about identity, morality, autonomy, and rising above the expectations that are placed on us, which seems like an insane thing to say for a film like this. It’s a morbid, mindless way to spend 80 minutes.
By the end of this experience, Pinocchio Unstrung transforms from a wooden concept into a real horror film.
Pinocchio Unstrung releases in theaters on July 24, 2026.
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