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‘Aliens: Dark Descent’ Review – Brutal Tactics and Nail-Biting Experience Captures the Essence of ‘Aliens’

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Aliens Dark Descent Review

I’m of the mindset that there has never been an excellent modern video game based on the Alien franchise. Alien: Isolation was an exercise in misery, taking what should’ve been a well-crafted 4-8 hour horror experience and stretching it beyond the 20-hour mark. Aliens: Fireteam Elite was a fun-as-hell co-op shooter, but repetitive gameplay and light content at launch kept it from its potential. The less said about Aliens: Colonial Marines, the better. The point is that there has yet to be a game to land not only the aesthetics the series is known for but the feeling of tension and dread that comes with it. It’s understandably a tricky balancing act, so maybe it was “game over” all along for this franchise in video game form. And then I booted up Aliens: Dark Descent.

When announced a few months ago, many assumed this isometric view game would be a twin-stick shooter or Diablo clone. So expectations were truncated going in. I’m not sure what I even expected from an Aliens game. What I found in Dark Descent was an absolutely nail-biting experience that made me the most anxious playing a video game since Darkest Dungeon. At its core, Dark Descent is a brutal tactics game with Real-Time Strategy combat that replicates the feeling of hopelessness and being outnumbered. It’s the closest I’ve ever felt to a game successfully replicating the feel and tone of the films.

Aliens: Dark Descent sees players take the role of Maeko Hayes, a Weyland-Yutani commander. After an explosive but slow-paced introduction/tutorial, she finds herself in charge of a platoon of the series’ signature Colonial Marines as they’re stranded on the derelict moon of Lethe. Soon she discovers the moon is overrun with the deadly Xenomorphs, which need to be stopped before spreading throughout the galaxy. From what I can tell, it’s a relatively simple premise that takes place after Alien 3. But even if you’ve never seen the films, there’s plenty to enjoy from its story and characters.

Dark Descent Marines

Aliens: Dark Descent takes the X-COM approach to its commander gameplay. Players will oversee a base where they develop weapons, initiate research, and kit out their marines for missions. It’s an established formula that works, and honestly, I’m shocked that “X-COM in the Aliens universe” hasn’t been a concept sooner. After preparing your marines, you choose which expedition to send them. That can range from searching for survivors, gathering intel, or even hunting down certain enemies. It creates a satisfying gameplay loop of completing missions, returning to base, performing research and development, and repeating the process. If you found this loop satisfying in X-COM or Marvel’s Midnight Suns, you will find it satisfying here.

The gameplay shines once Marines get deployed. Players will command a group of marines in real-time combat and exploration. I found this to be more engaging than X-COM in its moment-to-moment gameplay. Instead of plotting out my moves and watching them play out in turn, I felt I had more active control over my squad and could make more tactical decisions on the fly in case things went horrifically awry. When you move your squad, the Marines auto-attack anything in their sightlines, but they cannot use weapons when you command them to run. This decision provides a push-and-pull style of gameplay where you can weigh your options of standing down and fighting or fleeing to escape from the mission. The only time the gameplay slows down is when using ability commands, where the game’s speed slows, and you can issue a command such as telling a marine to lay down suppressive fire or set up an auto turret. It gives the game an even more tactical feel, as it’s best to do this when enemies do not surround you.

Gear is essential in the game too. While on a mission, it’s going to be critical that you monitor how many health packs and toolkits your marines have. Health packs do what they say on the tin and prevent your marines from dying in the field because they’re gone for good if they do. Long story short, don’t get attached. Due to the game’s brutal difficulty, you will inevitably have marines die on missions.

Conversely, toolkits will provide a reprieve from the horrors marines will face. They can seal doors to either force the Xenomorph into a choke point or stop them entirely so your marines can rest. There’s a constant bevy of decisions that players must make at all times, and how this plays out in real-time can be a tense but satisfying experience.

Dark Descent gameplay

I want to talk about difficulty, as this is where many players may feel intimidated. Make no mistake, Aliens: Dark Descent is a brutally difficult game, even on standard difficulty. Sometimes I would go on a mission with fully kitted-out marines only to have an unexpected horde of Xenomorphs completely wipe them out. The game employs a light stealth and “danger” level. The more your squad encounters and fights the xenomorph threat, the more dangerous and frequent hordes will become. The best way to slow this is to stealthily move across missions using clever cover and routing. The only problem with this is that it’s unreliable and often resulted in me engaging in far more gunfights than I was prepared for. You can find more resources in the field, but I never felt quite prepared 80% of the time, which feels like an intentional design choice.

Performance is excellent on PS5. I never ran into any bugs or glitches, and the game ran exceptionally well. Helmet’s off to the team for creating a polished game right from release. The only issues I ran into on the console version were the controls. Aliens: Dark Descent is a game designed for the mouse and keyboard. The controls on the pad function fine but replicate what one would do on a keyboard and mouse configuration; it’s a little finicky with the shoulder buttons acting as left and right mouse clicks, respectively. As a result, a lot of the UI isn’t made explicit for the console or bad. It’s a PC port, and I recommend playing it there.

Overall, I had a good time with Aliens: Dark Descent. After getting over the initial learning curve with the controls and mechanics, I was left with a game that poked at all the right parts of my brain. The game’s design creates a satisfying loop of entering the breach, escaping, strengthening yourself, and returning to the fray. At the same time, the somewhat frustrating horde system makes it so that you’re never comfortable while delivering the number of thrills and hopelessness you expect from the Aliens franchise. Aliens: Dark Descent is the most exciting Aliens game yet and one I’ll find myself returning to often to see if I can pull off the perfect mission.

Aliens: Dark Descent is available now on PC, PS4, PS5, Xbox One, and Xbox Series X/S. Bloody Disgusting was provided a PS5 code for this review.

3.5 out of 5

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‘Matinee’ Blu-ray Review: Kino Cult Revives an Overlooked Canadian Slasher Gem

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There’s something really insidious, in a great way, about setting a horror story in a movie theater. It’s something filmmakers have known for decades, going back to The Blob and beyond, but it never fails to strike a chord because, in a way, it hits us exactly where we feel safest. Seeing a horror movie on the big screen, surrounded by like-minded moviegoers, is a communal experience, one in which everyone screams and laughs together. We are together, and therefore we are much less vulnerable, so when someone punctures that bubble of safety, it’s all the more frightening. 

Matinee (also released as Midnight Matinee in some territories) is a movie that understands this from the jump, setting up a stunning opening kill that predates a similar sequence in Scream 2 by almost a full decade. A smart, layered, very stylish Canadian slasher released at the tail end of the 1980s, it’s one of those films that’s spent a lot of time in the dark even among the horror faithful (I’m willing to admit that I hadn’t seen it until recently). Now, a new Kino Cult Blu-ray release is out to change that, and it reveals a slasher essential that, while not perfect, has charm and style to spare. 

Two years ago, the Paramount Theater in the small town of Halston closed its doors when, during the theater’s annual horror festival, a young moviegoer was murdered in his seat, mid-movie. Leads in the murder quickly dried up, and the case is cold enough now that the town barely talks about it anymore. Fortunately for local horror fans, that means the Paramount can open again in time for its Halloween horror festival, and they’ve got a hotshot producer (William B. Davis) in town for just such an occasion.

As the festival draws closer, the film introduces us to a variety of characters, including rebellious teenager Sherri (Beatrice Boepple), her boyfriend Lawrence (Jeff Schultz), her overbearing mother Marilyn (Gillian Barber), and the theater’s kindly owner, Earle (Don S. Davis), who’s just hoping he can run a business without more bloodshed. But someone clearly remembers what happened two years ago, and their violent streak is on a collision course with opening night. 

Matinee has quite a few things going for it, but what stands out right away, and maintains a consistent grip right up through a wonderful crescendo in the third act, is the film’s visual style. Writer/Director Richard Martin, cinematographer Cyrus Block, and special effects wizard Bob Comer make great use of the film’s limited locations, giving the movie a charming small-town feel reminiscent of Halloween or The Blob while building a self-contained little world inside the theater itself that’ll remind you of films like Popcorn and Demons.

The colors are striking, the framing is clever, and the film clearly has a ball making references to all kinds of other horror cinema moments ranging from The Phantom of the Opera to Friday the 13th. The kills, while relatively sparing with gore, are delivered with style and appropriate tension, creating that sense of unease right in the middle of a place where we as movie fans should be comfortable: The movie theater. Along the way, the Paramount itself becomes a character, and this release definitely dials up its retro splendor.  

The Blu-ray upgrade preserves the film’s attention to detail and ambitious cinematography, helping the colors to pop while never letting go of the texture and feel of a relatively low-budget horror film made in Canada in the 1980s. There’s a certain gauziness to many exploitation films of this era, that haloed light you get when the scene is perhaps overexposed just a little too much. It makes the film dreamlike even when it reaches for realism, and Kino Cult’s upgrade preserves that feeling. Throw in a smart script and a whodunit plot that leans heavily into the psychological details of each character, and you’ve got a winner. 

There are a couple of things that stick out as slight issues here, including the lack of special features beyond an excellent commentary from film historians and Kino regulars Jason Pichonsky and Paul Corupe. The disc is quite reasonably priced, so it’s not a letdown economically speaking, but I’d love a deeper dive into the film and the Canadian slasher boom in general, particularly for a movie like this that seems to have faded from so many memories, including mine. The sound mix also has some issues, probably left over from previous releases, that might have you playing with your volume settings a little more than you’d like over the course of a 90-minute film, particularly when lines of ADR dialogue crop up. 

These are minor concerns, though, and they do nothing to diminish the impact of Matinee, or the joy that’ll come from watching this film for the first time if you’re a slasher devotee in search of something new, or even someone who saw this movie way back when hoping to relive its glories. This is one of those slashers I’ll be talking about with fellow horrorphiles for a long time, and it’s because of this disc.

Matinee is now available on Blu-ray from Kino Cult.

3.5 out of 5

 

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