Hello, dear GameSpotters! In my attempt to review as many games as possible before my GotY awards, here is my review of a game I should've reviewed some time ago: Metroid: Other M. The review can be found here. As always, only read if you want to, and any comments are welcome :)

Ciao for now, amigos and amigas!

-Calvinsora

Hello, my dear GS friends. I just wanted to extend a Christmas greeting to you all and wish you a great holiday season. I would also like to thank you for the good times this year and all those that have taken time out of their day to read my little blogs. I appreciate more than you would think, and it always brightens my day to hear your opinions and comments. Thank you all, and let's hope next year is just as swell.

By the way, Red Dead Redemption has just scooped up Game of the Year on GameSpot. A great game, to be sure, though I don't agree with the assessment of it being GotY personally. Still, I'd be childish if I tried to in any way debunk the choice with own personal subjectivity, I'm just glad the GS staff liked it so. As promised, my own GotY awards should come in January or early February, so stay tuned.

The heartiest regards and well-wishes to you all,

Calvinsora

Hello, just a quick announcement that I just wrote my newest review, now for Resonance of Fate. It can be found here, and only read if you wish :)

Regards,

Calvinsora

Though my Best of 2010 will still have to wait until after New Year's, that doesn't mean I still don't have something special to celebrate with in this merry season. To be more precise, the special achievement awards! Basically, this is where games will get credit where credit is due, but in far more narrow areas. In terms of which areas to reward, I will use a slightly different system than GS, mostly due to restrictions of what I've played. Anyway, I won't procrastinate any further. Let us GO!

Most surprisingly good game:

Castlevania: Lords of Shadow

Now, let me be honest: I had no hope for Lords of Shadow. Null, zilch, nada. Too many times had the execution of Castlevania in 3D failed to impress, so imagine my surprise when it turned out that this was not only good, but among the better games of the year. Its subtle beauty, meaty combat and brilliant design shone throughout, and though the story is a bit cheesy, it's also poignantly told. Congrats to Mercury Steam, they did the seemingly impossible: a smooth transition from 2D to 3D. It's no Symphony of the Night, but that's not what it's trying to do anyhow. It's just sleek, entertaining and smart.

Runner-up: Scott Pilgrim vs. The World: The Game

Best story/best writing, dialogue:

BioShock 2

This was a real toughie, it was a cut-throat battle between BS2 and MGS: Peace Walker. But BS2 got the prize by a slim margin. A return to Rapture proved perfect ground for another, allegorical tale about corruption, sacrifice and Ayn Rand, but the angle is slightly different this time. It's more about the polar opposite to the first game's Andrew Ryan; a figurative "Messiah", Sophia Lamb. Not only that, you play as a prototype Big Daddy, a seemingly emotionless hunk of metal and tubes. This is all tied together to one special Little Sister, that the prototype loves more than anything else. This connection makes for a heap of narrative genius, and just like in the first game, it doesn't disappoint. Immaculate settings, smart dialogue and rich attention to detail are what separates BS2 from most other games. I don't wish to spoil anything, but few games this year have as much of an emotional impact, maybe outside of Heavy Rain. All in all, it's simply superb.

Runners-up: MGS: Peace Walker, Heavy Rain

Best graphics, realistic:

Final Fantasy XIII

For the two graphic sections, you'll get some nice pictures to follow, as can be expected. Now, I'll be splitting it up into "realistic" and "artistic".A few things need explaining. Though I use the word realistic, that doesn't mean that the award goes to the game that emulates reality the most. What it mostly signifies is the game that manages to go the furthest in creating graphics that boast the most similarities to realistic properties (such as textures etc.), while retaining an art styIe all its own. I'm not that good at explaining, so let's just leave it at that. Two, why use "realistic" and not "technical"? Well, I've never felt there to be any merit in being the most technically advanced, it says nothing about the quality of the art styIe itself.

Anyway, the winner of this prestigious award is, of course, Final Fantasy XIII. Few games manage to ever wow me, but that's what FFXIII does pretty much all the way through. Its mesmerizing beauty is multi-faceted. Firstly, the environments are second to none in beauty. Every single detail is exploding with color, vibrance and polish. Secondly, the characters are incredibly well-constructed and each conveytheir grand scalebrilliantly. Finally, there are the various minor technical details, the lack of visual blemishes, the variety in design and more. It just looks sublime every piece of the way, pristine and gorgeous. We need more of this.

Runner-up: CV: Lords of Shadow

Best graphics, artistic:

Kirby's Epic Yarn

There just aren't many games this imaginative. It's just so incredibly smart, that it's surprising no-one has used it before. Now, before I continue,I have to say that I actually haven't played the game. Why? Because Nintendo apparently DIDN'T think such a charming, beautiful, accessable game was a good game to have on the Christmas retail list in Europe! Anyway, I don't need to play it to be absolutely stricken by its charm. This might just be the most charming game I've ever seen, it oozes cuteness, being at the same time complex and simplistic. Kirby is of course a pink ball of fluffyness, but everything else now reaches the same level. It's not just a surface change, however, the visuals perfectly compliment the gameplay, you can rip opponents apart and go behind the fabric yourself. I don't JUST want this game, I WANTS IT NAO! Alas, TBA 2011 isn't exactly acceptable. Nintendo, be quick!

Runner-up: Limbo

Best new character:

Lightning (FFXIII)

It's rather sad, but we don't have that many female heroes. And by that, I don't just meanfemale characters that are main characters. I mean actual, virtuous, strong heroes that aren't there just to be eye candy. So Lara Croft, you can go jump off another waterfall. Though, yes, Lightning is fantastically pretty, she has personality and wits to back it up. She's a leader, but a conflicted one. One that feels guilt over what has happened in the past, but wishes to make up for them. Under the rough exterior is a genuinely kind and caring heart, one that wishes the best for both her friends and those that lie even closer to her heart. Also, it helps that she's the bestfighter in the game, so if there's any character you connect with, it's Lightning. And now that she's returning in Dissidia 012: Final Fantasy, we have even more time to get to know her. Joy!

Runner-up: John Marston (RDR)

Best downloadable game:

Scott Pilgrim vs. The World

Note: Limbo and Super Meat Boy are on my "get as soon as possible" list.

Scott Pilgrim is somewhat of an oddity. It's a game, based on a comic, of which a recent movie is based, that goes back to the past. Bit of a mouthful. But yes, it's no secret that River City Ransom is a huge influence upon SP, and that is definitely a good thing. The retro 16-bit (?) styIe of the game is simply gorgeous, while the clever pop-culture references instill a personality of its own. The combat is punchy, intense fun, and can be enjoyed with another player if you wish. Despite all of its fun, though, what really stands out for me is the music. The amazing, amazing music by Anamanaguchi. It's played, believe it or not, through an NES, giving it the authentic chiptune feel. Awesomeness. Download this game now, if not for the superb game, then for the soundtrack. Bloody fantastic.

Best atmosphere:

Heavy Rain

Heavy Rain's biggest accomplishment, by far, is how realistic it is. And it's not just realistic for the sake of realism, far from it. It actually utilizes the realism to break down the barriers between player and game. Crawling through electric wires might be easy in a traditional game, but doing it in Heavy Rain is both tiring on the body and spirit. The clencher, though, is the beginning of the game, how the life of Ethan Mars is so carefully built up, before being torn down without mercy. It's a punch in the gut, and at least for me, it made me care more for Ethan Mars' goals than I've done with any character this year. How much ARE you willing to sacrifice to save someone you love? That's for you to find out, regardless of whether or not it will hurt more than anything you can imagine.

Runners-up: Bioshock 2, Red Dead Redemption

Best original music:

Super Mario Galaxy 2

It says a lot about the quality of a game's music when it has an entire orchestra named after it. In this case, it's the Super Mario Galaxy orchestra, and it knows its stuff. Grand doesn't begin to explain the majesty of the orchestral work on display in SMG2, it's absolutely breathtaking. Not only that, it's also diverse in theme and styIe. Some old tunes, some new tunes, all put together with tact and knowledge of what works best with every situation. It's hard to make appropriate tunes for something as fathomless as space itself, but leave it to Nintendo to find a way. Amazing work, as always, my old plumber friend.

Runners-up: Scott Pilgrim vs. The World: The Game, Nier

Best voice acting:

Metal Gear Solid: Peace Walker

It's odd that in a series known for some of the best voice acting in video game history, it's the little handheld brainchild of Kojima that stands as one of the strongest contenders of the best MGS has seen in that area. Maybe most of the finesse comes exactly from the limited hardware. Extravagance wasn't as much of an option here, so they had to find a way to make the voice acting so adept that it could make up for the lack of flair. Well, they most certainly succeeded. Every single character is voiced to utter perfection, the accents, emotions and general reality of the circumstances. It would take too long to point out every stand-out performance, because basically, all of them are. Let's just say that it is far better than most Hollywood films can boast.

Runner-up: DeathSpank

Funniest game:

DeathSpank

How many times have you laughed out loud during a game? Possibly while playing the Monkey Island games, or maybe Ratchet and Clank? Are there really many examples other than those that can't be counted with the fingers of your hands? Well, you can at least add DeathSpank to the list. I mean, come on, even the name is hilarious. The hero, DeathSpank, not only conquers death, but spanks it too! Yeah! Every facet of DeathSpank bleeds hilarity, whether it's the fact that the strongest enemies in the game are unicorns or that the source of your power is your mighty purple thong. It's not that surprising that the game is this funny, the writer is known also for his work on the aforementioned Monkey Island titles, and it doesn't disappoint. Don't believe me? Just try out the demo. It's the funniest demo you'll ever play.

Best original game mechanic:

Run and gun battle system (Resonance of Fate)

If there's one thing Tri-Ace knows how to do, it's making battle systems. Star Ocean, Valkyrie Profile, you name it, each title displays battles of incredible depth and brilliant complexity. Resonance of Fate, however, takes it a step further. It's pretty much impossible to describe the battle system at length in just a few sentences, so it'll just be run and gun for now. A blend of isometric puzzling, reflexes, management of equipment, configuration of characters, situation on the battlefield and shielding of the enemy, you'll need some brains to figure it all out. More than that, though, is how much fun it is every single time. It's incredibly difficult, but infinitely satisfying each and every time. Now, all I have to do is finish the game...

Runner-up: Sliding rock-styIe (Vanquish)

Best boss fights:

Final Fantasy XIII

Resonance of Fate would maybe have scooped this up if I'd have played more of it, but for now, FFXIII gets the prize. I love epic boss fights. However, epic doesn't necessarily mean big (not in my imaginary dictionary, haha). Almost every fight in FFXIII is epic, to the max. The final boss takes the cake, but everyone has a distinct weakness, a distinct way to defeating it. If you choose a wrong strategy, you could be flattened easier than an ant on a sidewalk. Do it right, and you'll become a dispenser of justice. It's that sort of thinking that makes a good boss, and it lives in every boss in FFXIII's repertoire.

Runner-up: Super Mario Galaxy 2

Most memorable moment/best ending:

Bioshock 2, Red Dead Redemption, Heavy Rain

I decided to lump this a bit together, because each of those three games had a moment and/or ending that was extraordinary. I would put them in spoiler tags, but after trying it three times with various changes, my computer doesn't allow me to do so because of HTML rubbish. Ah well, skip this part if you don't want spoiler for those three games. Sorry.

Bioshock 2:

I'd think most people that have played through the game remember the perspective change. All of a sudden, you get to see Rapture through the eyes of a Little Sister, and it's more than just abit disquieting. Everything is draped in beautiful linen curtains and white marble, paintings adore the otherwise barnacled walls, dead bodies are replaced by something far more pleasant etc. It's a shocking change, and one that sticks with you. Also, the bittersweet end is most certainly a tear jerker, but it's really something to be experienced, not explained.

Red Dead Redemption:

The ending is the clincher. The tragic end of John Marston's struggle against the oppressive law lies in his death. His son and wife must look on hopelessly, not being able to do a thing to help him. All the work John had gone through is for naught. He was a liability, a stepping stone. His son isn't happy, understandably, and a few years later, he finds the man responsible, challenges him to a duel, and puts a bullet into his head (or other body parts, depends on you, really). Thus ends the tragic saga of RDR. A succinct end to a great game.

Heavy Rain:

The Lizard Trial is just something else. Chopping off your finger with just the tools of an ordinary kitchen. That must hurt. What hurts even more is that you have to do it yourself. Do you do it with a knife, a poker or something else? Do you remember to cauterize the wound, clean it, clean the weapon? All of this could so easily lead to the death of dear Ethan, but he does this for his son. It's one of the more excruciating moments I've, at least, ever experience in a game. And the agonizing screams still stick with me today. *shiver*

SPOILERS END

Well, that's it for now! Hope you enjoyed these awards, and don't hesitate to come with some of your own, either in the comments or, even better, in your own blog! Let's get this rolling. See you folks later ;)

-Calvinsora

Boy, has a year passed already since Best of 2009? I thought nothing could beat last year, at least in recent memory. However, 2010 did just that, and not only that, it seems to have surpassed all gaming years I've experienced. It's really been amazing in both its variety and sheer entertainment value. We've had amazing gameplay, sweeping locales, amazing stories, beautiful graphics, awesome music; it's a smorgasboard of awesomeness. Now, I personally won't be doing my Best of 2010 list until after Christmas. Why? Simply because I won't have played all the 2010 games I wish to play until after the Christmas rush. That includes Donkey Kong Country Returns, Vanquish, Professor Layton and the Lost Future, Kingdom Hearts: Birth By Sleep and more.

Don't worry, I will make a list. Not that the first spot is in any way surprising at this point, I'll be gunning for a top 20, in contrast to my top 5 last year. So there should be a lot of accolades. And cake. So, get yourselves into the "Best of" mood and let's have some fun! Hoohah!

-Calvinsora

When it comes to controversial film decisions, not many can compare nowadays to the choice of splitting the final installment in the Harry Potter franchise (the film version, that is) into two parts. Now, I won't be trying to force anyone to think differently, but as a long-time HP fan, I cannot see how the action-packed final book would ever have worked in one film alone. There is just too much to tell, too much that is relevant to both the characters and the central plot. If this were packed even into one four-hour movie, which already stretches the amount of time the average movie-goer can tolerate,too muchworthy content wouldbe cut from the final rendition. So the situation is "damned if you do, damned if you don't". Luckily, the decision has payed off in spectacular fashion. It's styIish, beautifully taken and deceptively smart. Yes, it's more a way to set the scene for the eventual Part 2, but boy, does it do it well.

When a story has gone on for six installments, it's hard to say anything without basically spoiling everything that came before it. Let's just put it simply: Harry is now on a quest, along with Ron and Hermione, to find the objects that will lead to Lord Voldemort's very timely demise. However, this is much easier said than done. Thanks to the split, screenwriter Steve Kloves has ample room to put the plot together in a more leisurely, meaningful fashion. The brilliance of the seventh and final book in the HP series is that it's far from being a typical adventure in terms of how the heroes succeed in their quest. People die, stuff is lost, missions fail. It's harrowing to witness all the plans fall to pieces, and how Harry and friends must react to their predicaments. Though the previous installment, The Half-Blood Prince, was a superb film in itself, it suffered from an incredibly rushed pace and hurried storytelling. This is not only nonexistent in Deathly Hallows, but when the pace of both films is juxtaposed, it's amazing to see how different it makes the film experience.

That's not to say that the pace is luxurious throughout, sometimes the film whips along at such speeds that it becomes hard to hold yourself to the seat. It's the interludes between the action that define what is particularly wonderful about the film. You have actual time to breath between the death-defying spell casting and scary appearances of Ralph Fiennes (Voldemort) and Helena Bonham Carter (Bellatrix Lestrange). The characters get to develop both themselves and their connections, making their fates more engaging and important. More importantly, you become more invested in their quest. This intertwines with the cast's great performances (asin most of the other films), with the highlights being Fiennes, Carter, Alan Rickman (the oily Severus Snape) and a surprise appearance by Bill Nighy as the new Minister for Magic, Rufus Scrimgeour. The famous trio is, of course, also great, though Daniel Radcliffe (the titular Harry Potter) is still a bit stiff. However, the cast is nonetheless brilliant in their portrayal of the film's greatest moments.

The most revealing difference the film possesses, however, is David Yates' brilliant direction of the film. It's darker, moreelaborate and in a way incredibly beautiful. He's truly grown up as a director and shows his development superbly in both his claustrophobic takes in dire situations and in sweeping takes of multiple English locales of incredible scale. It's no secret that the story gets darker with each year, but never has this darkness been portrayed quite as well as in Deathly Hallows. It's not particularly depressing or dire, but more a foundation for the tumultuous blend of magic and reality that looms over the story itself.

The film's overall production values help this atmosphere in setting itself fully, and there are some truly brilliant touches to be found throughout the film. Not much will be told to avoid spoiling experiences, but a certain chase scene and an artistic fairytale are incredible. Then there's the traditional Harry Potter theme, along with some other tunes that lighten (or dramatize) the experience. It's an exceptionally well-crafted film, lavish in detail and haunting in theme.

It is inevitable that this film will be defined as a hype machine for the bigger, Summer-planned sequel, and in many ways, that's just what it is. However, nothing is stopping it from being just as brilliant, if not more so, than all of the previous films in the series. It's more cerebral, more powerful, more daring and simply more streamlined than anything that came before it, and it pays dividends for fans and newcomers alike. It's a doorstop for something bigger, but what a wonderful doorstop it is.

Hey y'all, long time no blog! Anyways, my newest review is up and now it's Lords of Shadow that gets the review treatment. The review can be found here, and as always, read only if you feel up to it. I always appreciate feedback :)

Hope everyone is doing good this week. Some exams and stuff for me, but generally, not that much. I'm salivating over the prospect that I'll soon be seeing the new Harry Potter film (yes, I'm a tried and true Potter maniac), so that's exciting. Oh, and if you want some good listenin', Youtube Philip Glass. A genius of our time, for sure. See you folks around. :D

-Cal

Ooooo-kay, this one is a biggie. My extrapolated title bears no real malice toward anyone reading this blog, it's just a casual observation from my favorite home away from home, GS video review comments sections. As many of you may know, GS has been very diligent in making a bevy of video reviews for almost every game released in this month, and I applaud them for that. Great job. Unfortunately, the flipside of this is that the GS community then gets the privilege of commenting on the review itself. This results in massive flocks of sensitive teenagers that can't get their head wrapped around the fact that someone can have a different opinion than they do. There have been several cases of this in the last month, from both positive and negative reviews. Examples are Super Meat Boy, Castlevania: Lords of Shadow, Fable III, Fallout: New Vegas and The Force Unleashed 2. There, a large amount of annoying people commented on how "the review sucks" with the only logic behind their words being "I don't agree with 'em". Sorry to burst your bubble, but that's how the world works. Deal with it. You're bound to disagree with reviewers at some point, I do that most certainly. GS gave my favorite game about 8.2, but I bear no ill will there because that's what they think and that's that. There's no wrong or right opinion, as I've said a hundred times before, but it's far more convenient to think there are.

The video review comments section that pushed me over the proverbial edge, so to speak, and drove me to write this relatively futile blog is the just-released God of War: Ghost of Sparta review. What a load of furious rubbish that is. Fanboy after fanboy harping on and on about how Tom McShea's wrong about his appraisal, a worthless reviewer etc. As a fellow officer of the GRU, I would like to harshly reprimand those claims. Tom has ALWAYS been fair in his reviews, he speaks from his point of view and does so far better than I could ever hope to do, and than most other users here on GS for that matter. That comes from years of experience, of course, not some sort of pre-destined born ability. What's even more shocking to this is that the score for GoW: GoS is not 5.0, 6.0 or the "dreaded" 7.0, but a great 8.0! Now, I'm confused. Is no game ever allowed to score under 9.0 as long as it's in some way good? That logic is not logic at all, to be honest, but let's analyze this a bit. An 8.0 (to 8.5), according to GS protocol, is explained thusly:

"This range refers to great games that are excellent in almost every way and whose few setbacks probably aren't too important. We highly recommend games in the upper half of this range, since they tend to be good enough to provide an enjoyable experience to fans of the particular genre and to new players alike."

To the best of my knowledge, this is a really good rating range indeed. This is doubly relevant for those that are overall fans of the genre, since it means that you pretty much NEED this game. To be blunt, complaining about an 8.0 score is stupid, since it's basically complaining about something that's inherently a good thing.

What makes all of this hullabaloo even more silly is that the game isn't even officially released yet. Yes, some have gotten it through sneaky retailers, but the majority will not have played the game at this moment in time. Stating something is right/wrong before even testing it is even more ridiculous, and is a childish way of thinking. I'd partially understand complaints if they had played and loved the game, but this isn't the general case at all. This is a nice segue into the discussion of what a review basically is. There should only be TWO reasons you watch or read a review:

1. You are interested in seeing the reviewer's opinion of a certain game and want to use it to gauge how much you want that certain game.

2. You are interested in the writing of reviews, their structure etc. and would like to evaluate it on its own terms.

Most fit in 1., some people (including me) fit in both. The complainers, on the other hand, fit in neither. If you already have a set opinion of a game and want to go to a review for the sole purpose of checking whether or not that reviewer agrees with you and bashing him/her if they don't, I can't imagine the amount of free time you have to waste. A review is a recommendation tool, not an essay of a game's final quality, yet so many people think it's the latter and get in a fit when it doesn't conform to their own views. If everyone were to become so sensitive about a score, then shouldn't we just put down the review system altogether? That would serve no purpose other than making it harder for people to choose a game they see in the store one day. After all, Youtube video sometimes just aren't enough. This is why I don't get the people that come to video reviews complaining, if they don't like that certain site's reviews, then they're free to walk (or click, to be more precise) out of here and never have to return. Yet they cling on like parasites on a feeding frenzy, feasting on all ratiional thought and etiquette.

The most desperate of dissenters may claim that I'm just being a GS fanboy myself. Hoho, that is so wrong. Even though I'm not a fan of reviewers like IGN, Gametrailers and EDGE (just examples, nothing specific), I'd defend their opinion just as ardently. Even the 10 IGN gave the Zombie DLC of RDR, though one of my eyebrows is lifting up suspicioulsy at that score. The sanctity of opinion is important, and should never be breached for the simple reason that someone doesn't agree with what was said.

These fanboys/children/annoying people, whatever, that frequently go into some sort of rage over a review are what I like to call GS user whiners. And despite the fact that the world is generally built up on logic and reason, these people are far more common than they should ever be. Luckily, I know few people that well that are of this nature, so it doesn't really affect me so far as my mental sanity is concerned. However, even if this blog will not have the slightest influence on how people will think, I still won't abstain from pointing out the fanatic fanboyism. Something that's wrong should not go unnoticed, and I will not stand for reasoning such as "you can't do anything about it, better to just let it lie". I will not let it lie, I'll shoot it up into the stratosphere if need be and hope that it stays there to kingdom come. Even though this will only translate to some comments in my own little comments section, never forget your privilege to speak up against injustice. Never forget, people, that in the end, only logic can prevail.

-Calvinsora

What is it about The Social Network that makes it so good? One could easily say things like fine acting, clever script, beautiful cinematography; the works. However, there's something else that makes the film special. After all, a film about Facebook and its origins isn't the most riveting set-up in film history. Maybe that's exactly what makes the film a masterpiece: the film's crew manage to make it interesting. In a flow of top-brass titles that have come out this year, The Social Network is one of the few that truly stand out. Its mesmerizing flow and beauty can't really be explained, but once it's seen first-hand, it won't ever be forgotten.

The name of the film is quite indicative of its story, since this is a retelling of the founding of Facebook, with additional focus on the litigations that followed the billion dollar legacy of the ubiquitous invention. It's to be noted that the film is based on the book The Accidental Billionaires, and is a slightly exaggerated version of real events. Despite that, there's a lingering sense of authenticity to every scene. Nothing feels fake, exploitative or pointless, and you'll never doubt that this is indeed what happened. Not only that, it's actually interesting. This reviewer has no love for Facebook, but this is engrossing stuff. Complex technical lingo is thrown around like rice at a wedding yet it doesn't feel obtrusive or overplayed. What's really the meat on the proverbial bones, however, is the dialogue in general. A conversation is an experience in The Social Network, and though that most likely sounds like overzealous hyperbole, it really does come off as such in the film. It's just smart in every way possible, exposition is none and you're left to pick up what's worth picking up from every sentence.

-Jesse and Justin speaking of fine wine and Facebook. Ironic, innit?

The best part of the story, however, is that it's not some arty, minimalistic tale with a hidden subtext. You don't have to walk in with the preset decision of watching it as a film "connoisseur", you just have to be a film goer. It speaks volumes about the films overall quality, because most films that advertize themselves as something needing convoluted thought are generally just haughty pieces of media theatricality. Aaron Sorkin deserves massive kudos for his screenplay, because it simply is a work of art in itself.

This is effortlessly blended with the brilliant cast performance and stellar presentation. Jesse Eisenberg portrays the maker of Facebook himself, Mark Zuckerberg. He does an amazing job in being an eccentric, cocky, egocentric nerd and really cements his place as a versatile actor. The supporting act is no less superb, with Justin Timberlake and Andrew Garfield playing the entrepreneur Sean Parker and former best friend Eduardo Saverin respectively. There's really nothing that screams "Oscar moment" in any part of the actors' scenes, they just do their lines with the utmost skill and sensibility. No overacting here, just subtle emotion or simple nonchalance.

-Soon enough, the smell would reach the rest of the room and the atmosphere would be broken.

These are, of course, simple keynotes of director David Fincher's usual styIe. Fincher, of course, needs little introducing. Having made films like Se7en, Fight Club, Zodiac and Panic Room, his prestige is well-known. He does a superb job on basically all bases. He compliments Sorkin's script perfectly to set a mood that feels oddly sinister considering the subject matter. There's the odd emotional punch of a short rebuttal to a lawyer's question, the fascination of seeing a rowing contest with "In the Hall of the Mountain King" playing in the background. It's those sorts of moments that make you remember the film. On the subject of music, the rest of the music is fantastic as well. Trent Reznor and Atticus Ross lend their talents to create a very ambient soundtrack, filled with subdued intrigue and almost-scary beauty. It's one of those films where you actually notice the music, which isn't as common as it should be.

As with all glimmering "100%", "five-star", "ten out of ten" etc. reviews, not everyone will see what all the fuss is about. For The Social Network, this is doubly relevant, because what's really special about a movie about Facebook? You really have to see the film to really know the answer to that question, but no worries, because it's absolutely worth it.

Score: "*****"

Hey, all you GameSpotters out there! I have been a very lazy person indeed, this is my first review in what, a month now? Gee-whiz... anyway, you can find my brand-spanking new review of MGS: Peace Walker here, and the usual rules of how you read it only if you wish applies here, of course. I hope everyone has had a great week, and would like to ask everyone to holler if they look forward to Vanquish! Hollah!

-Calvinsora