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Oscars 2021: An inside look (like, really inside) to 50 possible contenders in the next awards race
-Annette: Since Parasite’s road to the Oscars started at Cannes, it seems fair to talk about a movie that is circling a premiere in the world stage that is set in France. After delivering weird, indie classics like Mauvais Sang and Holy Motors (yes, the kind of movies that make you seem like a snob when you recommend them to people), Leos Carax is making his first movie spoken in the English language… and it has a musical screenplay written by the cult rock duo of Sparks. Recently robbed Adam Driver and previous Oscar winner Marion Cotillard sing in this tale of a stand-up comedian and a famous soprano singer who rise and fall in Los Angeles while their daughter is born with a special gift. It seems like a wild bet, but we already know that Carax is a master with musical moments, so this is one of the most intriguing question marks of the year.
-Ammonite: It’s time to talk narratives. On the one hand, we have Kate Winslet, a known name who hasn’t been very successful in the Oscar race since her Oscar win for The Reader over a decade ago (with the exception being her supporting performance in Steve Jobs, where she had a weird accent). On the other, we have Saoirse Ronan, a star on the rise who keeps collecting Oscar nominations, with 4 nods at the age of 25, including her fresh Best Actress loss for Little Women. What happens if we put them together in a drama set in the coasts of England during the 19th century where both of them fall for each other? That’s gonna be a winning formula if writedirector Francis Lee (who tackled queer romance in his acclaimed debut God’s Own Country) nails the Mary Anning story, and Neon (the distribution company founded three years ago that took Parasite to victory) is betting on it.
-Benedetta: We know the Paul Verhoeven story. After isolating himself from Hollywood for over a decade, he took Isabelle Huppert to an Oscar nominated performance with the controversial, sexy, dark and funny thriller Elle. Now, he’s back with another story that perks up the ears, because now he’s covering the life of Benedetta Carlini, a 17th-century lesbian nun who had religious and erotic visions. If you know Paul, you already can tell that this fits into his brand of horniness, and a possible Cannes premiere could tell us if this has something to carry itself to Oscar night.
-Blonde: With a short but impactful directorial credits list that takes us from Chopper, to The Assassination of Jesse James by the Coward Robert Ford to Killing Them Softly, Andrew Dominik is back with a film about Marilyn Monroe, a woman who has transcended the ideas of fame and stardom, in ways that are glamorous and nightmarish at the same time. After failing to launch with Naomi Watts or Jessica Chastain,the rising Ana de Armas takes the lead in the retelling of Monroe’s troubled life based on Joyce Carol Oates’ novel, which is said to be covered in the screenplay as somewhat of a horror movie. We don’t know what that means yet, but Netflix is gonna push hard for this one, especially considering how the Academy loves throwing awards to stars playing previous stars, and that also can possibly include co-stars Bobby Cannavale and Adrien Brody.
-Breaking News in Yuba County: While he hasn’t gone back to the heights of his success achieved by the box office and award success of The Help (a movie that did not age well), Tate Taylor is still enjoying himself economically due to recent thrillers like The Girl on the Train and Ma. For his next movie, he’s made a dramedy that once again reunites him with Oscar winner Allison Janney, where she plays a woman who has to keep appearances and a hidden body when she catches her husband cheating on her, and then he dies of a heart attack. With a cast that also includes Mila Kunis, Regina Hall, Awkwafina, Samira Wiley, Wanda Sykes, Jimmi Simpson and Ellen Barkin, this could be a buzzy title later this year.
-C’mon C’mon: You may love or hate whatever Joaquin Phoenix did in Joker, but you can’t deny the benefit of playing the Crown Prince of Crime in an Oscar-winning performance. The blank check that you share with indie directors afterwards. Now that Joaquin’s cultural cachet is on the rise, Mike Mills gets to benefit with this drama that stars Phoenix and Gaby Hoffmann, with him playing an artist left to take care of his precocious young nephew as they forge an unexpected bond over a cross country trip. We only have to wonder if A24 will do better with this movie’s Oscar chances compared to 20th Century Women.
-Cherry: After killing half the universe and bringing them back with the highest grossing movie of all time, where do you go? For Joe and Anthony Russo, the answer is “away from the Marvel Cinematic Universe”. The Russo brothers are trying to distance themselves and prove that they have a voice without Kevin Feige behind them, with a crime drama that’s also different than their days when they directed You, Me and Dupree or episodes of Arrested Development and Community. To help them in the journey, they took Tom Holland (who also needs to distance himself from Spider-Man, lest he ends up stuck to the character in the audience’s eyes) to star in a crime drama based on former Army medic Nico Walker’s memoir about his days after Iraq, where the PTSD and an opioid addiction led him to start robbing banks.
-Da 5 Bloods: After bouncing back from a slump with the critical and commercial success of BlackKklansman, Spike Lee is cashing a Netflix check to tell the tale of four African American veterans who return to Vietnam to search for their fallen leader and some treasure. With a cast that includes Delroy Lindo, Clarke Peters, Isiah Whitlock Jr, Paul Walter Hauser and Chadwick Boseman, this sounds like an interesting combo, although we still should remember the last time that Spike tried his hand at a war movie, with the dull Miracle at St. Anna.
-Dune: If you are on Reddit, you probably know about the new film by movies’ new Messiah, Denis Villeneuve. While the epic sci-fi novel by Frank Herbert is getting a new chance in the multiplexes after that David Lynch movie that was forgotten by many, some are hoping that this will be the beginning of a new franchise (as seen by the release date of December 18, taking the spot of the usual Star Wars opening), and a return to the whole “remember when stuff like Return of the King or Fury Road were nominated for Best Picture?” question. Timothee Chalamet will be riding a lot of hope, and sandworm.
-Everybody’s Talking About Jamie: As you start to see, there are several musicals that are gonna be fighting for attention over the next year, and Annette was the first one. Now, we also have this adaptation of the hit West End production, that centers around a gay British teenager who dreams of becoming a drag queen and get his family and schoolmates to accept his sexuality. With a cast that mixes young unknowns, familiar Brits (Sharon Horgan, Sarah Lancashire and my boy Ralph Ineson) and the previously nominated legend that is Richard E. Grant (who is playing a former drag queen named Loco Chanelle), the creative team of the stage musical will jump to the big screen with the help of Fox Searchlight (sorry, just Searchlight), who has clear Oscar hopes with a release date right in the middle of awards heat, on October 23.
-Hillbilly Elegy: Even though the Parasite victory gave many people hope for a new Academy that stops recognizing stuff like previous winner Green Book… let’s be honest, the Academy will still look for movies like Green Book. This year, many people are turning their eyes towards Ron Howard’ adaptation of J.D. Vance’s memoir about his low income life in a poor rural community in Ohio, filled with drugs, violence and verbal abuse. If this sounds like white trash porn, it doesn’t help to know that Glenn Close, who has become the biggest living Oscar bridesmaid with seven nominations, will play a character called Mamaw. And if that sounds trashy, then you have to know that Amy Adams, who follows Glenn with six nominations, is playing her drug-addicted, careless daughter. I don’t want to call this “Oscar bait”, but it sure is tempting.
-I’m Thinking of Ending Things: After his stopmotion existential dramedy Anomalisa got him a Best Animated Feature nomination at the Oscars but at the same time bombed at the box office, Charlie Kaufman is getting the Netflix check. This time, he’s adapting the dark novel by Iain Reid, about a woman (Jessie Buckley, who is on the rise and took over the role after Brie Larson had to pass) who is taken by her boyfriend (Jesse Plemons) to meet his parents (Toni Collette and David Thewlis), in a trip that takes a turn for the worse. If Kaufman can deliver with this one, it will be a big contender.
-In the Heights: Yes, more musicals! This time, it’s time to talk about Lin-Manuel Miranda’s first Tony-winning musical, that was overshadowed because of his other small play about some treasury secretary. Now, his Broadway ensemble tale about life in a neighborhood in Washington Heights is jumping to the movie screen with Jon Chu at the helm, following the success of Crazy Rich Asians. This Latino tale mixes up-and-comers like Anthony Ramos (who comes straight from Hamilton and playing Lady Gaga’s friend in A Star is Born), names like Corey Hawkins and Jimmy Smits (who is pro bits), and Olga Merediz, who starred in the Broadway show as Abuela Claudia and who could be the early frontrunner for Best Supporting Actress, if Chu allows her to shine like she did onstage.
-Jesus Was My Homeboy: When looking at up-and-coming Black actors right now in Hollywood, two of the top names are Daniel Kaluuya and Lakeith Stanfield, who already appeared in the same movie in Get Out, which earned Kaluuya a Best Actor nomination. This time, they share the screen in Shaka King’s retelling of the story of Fred Hampton (Kaluuya), an activist and Black Panther leader… as well as the story of William O’Neal (Stanfield), the FBI agent sent by J. Edgar Hoover to infiltrate the party and arrest him. With the backing of Warner Bros, this will attempt to make an impact with a clash of actors that will have to fight with an August release date, not the ideal time to release an awards movie.
-King Richard: Starting with Suicide Squad, Will Smith has been trying to prove that he’s back and better than ever. Some attempts to get back to the top of the A-list (Aladdin, Bad Boys For Life) have worked, while others (Gemini Man, Spies in Disguise)... have not. But Will is still going, and now he’s going for his next prestige play as he plays Richard Williams, the coach and father of the tennis legends Venus and Serena, who pushed them to their full potential. While it’s weird that the father of the Williams sisters is getting a movie before them, it does sound like a meaty role for Smith, who has experience with Oscar notices with sports biopics because of what he did with Michael Mann in Ali. Let’s hope director Reinaldo Marcus Green can take him there too.
-Last Night in Soho: Every year, one or two directors who have a cool reputation end up in the Dolby Theatre, and 2020 could be the year of Edgar Wright. After delivering his first big box office hit with Baby Driver, the Brit is going back to London to tell a story in the realm of psychological horror, which has been supposedly inspired by classics like Don’t Look Now and Repulsion. With a premise that supposedly involves time travel and a cast that includes Anya-Taylor Joy, Thomasin McKenzie, Matt Smith and Diana Rigg, Wright (who also co-wrote this with Krysty Wilson-Cairns, who was just nominated for Best Original Screenplay for her work in 1917) is making a big swing.
-Let Them All Talk: Every year there’s more new streaming services, and that also means that there’s new players in the Oscar game. To secure subscribers to the new service, HBO Max has secured the rights to the next Steven Soderbergh movie, a comedy that stars Meryl Streep as a celebrated author that takes her friends (Candice Bergen, Dianne Wiest) and her nephew (Lucas Hedges, again) in a journey to find fun and come to terms with the past. The last time that Soderbergh and Streep worked together, the end result was the very disappointing The Laundromat. Let’s hope that this time everything works out.
-Ma Rainey’s Black Bottom: Now that Netflix got the deal to adapt August Wilson’s acclaimed plays with Denzel Washington’s production company, the next jump from the stage to the screen is a meaty one. Viola Davis is playing blues singer Ma Rainey in this tale of a heated recording session with her bandmates, her agent and her producer in 1927, with a cast that also includes Chadwick Boseman, Glynn Turman and Colman Domingo. The Tony nominated play talked about race, art and the intersection of the two, and it’s gonna be explosive to see that unfold on screen, even if director George C. Wolfe’s previous filmography isn’t very encouraging.
-Macbeth: In a shocking development, the Coen brothers are no more. Well, just this time. For the first time in his career, Joel Coen is making a movie without Ethan, and it’s a Shakespeare adaptation. Denzel Washington is playing the man who wants to be king of Scotland, and Frances McDormand is playing his Lady Macbeth. While this just started filming and it will be a race to finish it in time for competition in the awards race, the potential is there, and this project has everybody’s attention.
-Mank: After scoring 24 Oscar nominations and only winning 2 awards last Sunday, Netflix has to wonder what else must they do to get in the club that awards them. They tried with Cuarón, they tried with Scorsese, they tried with Baumbach, they tried with two Popes, and they still feel a barrier. Now, the big gamble for awards by the streamer in 2020 comes to us in the hands of David Fincher, who is basically their friend after the rest of Hollywood denied him (Disney dropped his 20,000 Leagues adaptation, HBO denied the US remake of Utopia, and Paramount drove World War Z 2 away from him). In his first movie since 2014’s Gone Girl, David will go black and white to tackle a script by his late father about the making of the classic of classics, Citizen Kane, with previous Oscar winner Gary Oldman playing the lead role of screenwriter Herman J. Mankiewicz. Will the Academy fall for the ultimate “power of da moviesshhh” story?
-Minari: Sundance can be hit or miss with the breakout films that try to make it to the Oscars. However, you can’t deny the waves made by A24 when they premiered Lee Isaac Chung’s new drama there, ending up winning the Grand Jury Prize and the Audience Award in the US Dramatic Competition. If Parasite endeared Academy voters to Korean families, Steven Yeun hopes that the same thing happens with this story, where he plays a father in the ‘80s who suddenly decides to move his family to Arkansas to start a farm. Even though the reviews have been great, we must also remember that last year, A24 had in their hands The Farewell, another Sundance hit about an Asian family that ended up with no Oscar nominations. Let’s hope that this time, the Plan B influence (remember, that’s Brad Pitt’s production company, of Moonlight and 12 Years a Slave fame) makes a difference.
-Next Goal Wins: It’s a good time to be Taika Waititi. Why? Taika Waititi can do what he wants. He can direct a Thor movie, he can win an Oscar for writing a comedy set in WW2 about a Third Reich boy who has an Imaginary Hitler friend, or he can pop up in The Mandalorian as a droid. Taika keeps winning, and he wants more. Between his press tour for Jojo Rabbit and his return to the MCU, he quickly shot an adaptation of a great documentary about the disgraced national team of American Samoa, one of the worst football teams known to man, as they try to make the cut for the 2014 FIFA World Cup. Everybody loves a good sports comedy, and Searchlight bets that we’ll enjoy this story led by Michael Fassbender as the new (and Dutch-American) coach in town who tries to shape the team for victory.
-News of the World: Seven years after their solid collaboration in Captain Phillips, Paul Greengrass and Tom Hanks reunite for more awards love in what seems to be Universal’s main attraction for the Oscars. This time, Hanks stars in a Western drama based on Paulette Jiles’ novel where he plays a traveling newsreader in the aftermath of the American Civil War who is tasked with reuniting an orphaned girl with her living relatives. With a Christmas release date, Universal is betting big in getting the same nomination boost that 1917 is enjoying right now, and the formula is promising.
-Nightmare Alley: Following his Best Picture and Best Director wins for The Shape of Water, everybody in Hollywood wondered what would Guillermo del Toro do next. Well, as Del Toro often does, a little bit of everything and nothing. Some projects moved (as his produced Pinocchio movie on Netflix, or his Death Stranding likeness cameo), others stalled and die (like his proposed Fantastic Voyage remake). But now he’s rolling on his next project, a new adaptation of the William Lindsay Gresham novel that already was a Tyrone Power film in 1947. This noir tale tells the story of a con man (Bradley Cooper) who teams up with a psychiatrist (Cate Blanchett) to trick people and win money, and how things get out of control. With a cast that also includes Toni Collette, Willem Dafoe, Rooney Mara and more, this could play well if it hits the right tone.
-Nomadland: There’s breakout years, and then there’s the amazing potential of Chloe Zhao’s 2020. On the one hand, after making Hollywood notice her skill with the gripping story of The Rider, she got the keys to the MCU kingdom to direct the next potential franchise of Kevin Feige, The Eternals. And just in case, she also has in her sleeve this indie drama that she wrote and directed beforehand, with two-time Oscar winner Frances McDormand playing a woman who, after losing everything in the Great Recession, embarks on a journey through the American West, living as a van-dwelling modern-day nomad. If Chloe nails these two films, it could be the one-two punch of the decade.
-One Night in Miami: Regina King is living her best life. Following her Oscar win for Best Supporting Actress in If Beale Street Could Talk and the success that came with her lead role in the Watchmen show on HBO, the actress is jumping to a new challenge: directing movies. For her big screen debut, she’s adapting Kemp Powers’ play that dramatizes a real meeting on February 25, 1964, between Muhammad Ali, Malcolm X, Sam Cooke and Jim Brown.
-Over the Moon: After earning praise and Oscar nominations with I Lost My Body and Klaus, Netflix will keep its bet on animated movies with a film directed by the legendary Glen Keane. Who? A classic Disney animator responsible for the design of characters like Ariel, the Beast, Aladdin, Pocahontas, Tarzan and more](https://www.youtube.com/watch?v=2jRkx2PNVr8), and who recently won an Oscar for Best Animated Short for Dear Basketball, which he co-directed with the late Kobe Bryant. Now, he brings us a musical adventure centered around a Chinese girl who builds a rocket ship and blasts off to the Moon in hopes of meeting a legendary Moon Goddess.
-Passing: It’s always interesting when an actor jumps behind the camera, and Rebecca Hall’s case is no exception. For her directorial debut, Hall chose to adapt Nella Larsen’s acclaimed novel set in Harlem in the 1920s, about two mixed race childhood friends (Ruth Negga and Tessa Thompson) who reunite in adulthood and become obsessed with one another's lives. With a premise that explores tough questions about race and sexuality, it looks like a tricky challenge for a first timer, but it would be more impressive if Hall manages to rise over the challenge.
-Prisoner 760: An interesting part of following the awards circuit is looking at when it's appropriate to talk about touchy subjects in recent history. I’m saying that because this next movie tells the real life tale of Mohamedou Ould Slahi (Tahar Rahim), a man who, despite not being charged or having a set trial, is held in custody at Guantanamo Bay, and turns towards a pair of lawyers (Jodie Foster and Shailene Woodley) to aid him. Based on the famous journal that the man wrote while he was being detained, the movie (that also counts with Benedict Cumberbatch) is directed by Kevin Macdonald who, a long time ago, helped Forest Whitaker win Best Actor for The Last King of Scotland. Could he get back in the race after almost 15 years of movies like State of Play?
-Raya and the Last Dragon: This year, Walt Disney Animation Studios’ bet for the Oscars is a fantasy tale set in a mysterious realm called Kumandra, where a warrior named Raya searches for the last dragon in the world. And that dragon has the voice of Awkwafina. Even though they missed out last Oscars when Frozen II got the cold shoulder by the Academy in Best Animated Feature, this premise looks interesting enough to merit a chance. One more thing: between last year’s Abominable, Over the Moon and this movie, there’s a clear connection of animated movies trying to appeal to Chinese sensibilities (and that sweet box office).
-Rebecca: It’s wild to think that the only time that Alfred Hitchcock made a film that won the Oscar for Best Picture was with 1940’s adaptation of Daphne du Maurier’s psychological thriller novel, more muted and conventional than his more known classics. Now, Ben Wheatley and Netflix are giving the Gothic story a new spin, with Lily James playing the newly married young woman who finds herself battling the shadow of her husband's (Armie Hammer) dead first wife, the mysterious Rebecca. The story is a classic, and we have to see how much weird Wheatley stuff is in the mix.
-Red, White and Water: Between 2011 and 2014, Jennifer Lawrence was everywhere and people loved it. She was America’s sweetheart, the Oscar winner, Katniss Everdeen. But then, everything kinda fell. Those X-Men movies got worse and she looked tired of being in them, her anecdotes got less charming and more pandering to some, she took respectable risks that didn’t pay off with Red Sparrow and Mother!, and some people didn’t like that she said that it wasn’t nice to share private photos of her online. Now, she looks to get back to the Oscar race with a small project funded by A24 and directed by Lila Neugebauer in her film debut, about a soldier who comes back to the US after suffering a traumatic brain injury in Afghanistan. Also, Brian Tyree Henry is in this, and it would be amazing if he got nominated for something.
-Respect: You know what’s a surefire way to get Academy voters’ attention? Play a real singer! Rami Malek took a win last year for playing Freddie Mercury, Renee Zellweger just won the gold after portraying Judy Garland, and now Jennifer Hudson wants more Oscar love. Almost 15 years after taking Best Supporting Actress for her role in Dreamgirls, Hudson will try to get more by playing soul legend Aretha Franklin, in a biopic directed by first timer Liesl Tommy that practically screams “give me the gold”. How am I so sure? Well, see the teaser that they released in December (for a movie that opens in October), and tell me. It will work out better for Hudson than Cats, that’s for sure.
-Soul: Unless they really disappoint (I’m looking at you, The Good Dinosaur, Cars 2 and Cars 3), you can’t have the Oscars without inviting Pixar to the party. This year, they have two projects in the hopes of success. While in a few weeks we’ll see what happens with the fantasy family road trip of Onward, the studio’s biggest bet of the year clearly is the next existential animation written and directed by Pete Docter, who brought Oscar gold to his home with Up and Inside Out. The movie, which centers on a teacher (voice of Jamie Foxx) who dreams of becoming a jazz musician and, just as he’s about to get his big break, ends up getting into an accident that separates his soul from his body, had a promising first trailer, and it also promises a score by Trent Reznor and Atticus Ross, as well as new songs by Jon Batiste. The only downside so far for the marketing was the fact that the trailer reveal led people to notice a suspicious trend involving black characters when they lead an animated movie.
-Tenet: When Leonardo DiCaprio finally touched his Academy Award, an alarm went off in the mind of a portion of Internet users, who have made their next crusade to give themselves to the cause of getting Christopher Nolan some Oscar love. And his next blank check, an action thriller involving espionage and time travel, could pull off the same intersection of popcorn and prestige that made Inception both a box office hit and a critically acclaimed Oscar nominee. It helps to have a cast of impressive names like John David Washington, Elizabeth Debicki and Robert Pattinson, as well as a crew that includes Ludwig Goransson and Hoyte van Hoytema. In other words, if this becomes a hit, this could go for a huge number of nominations.
-The Devil All the Time: As you may have noticed by now, Netflix is leading the charge in possible Oscar projects. Another buzzy movie that comes from them is the new psychological thriller by Antonio Campos, a filmmaker known for delivering small and intimate but yet intense and terrifying dramas like Simon Killer and Christine. Using the novel by Donald Ray Pollock, Campos will follow non-linearly a cast of characters in Ohio between the end of World War II and the beginning of the Vietnam War, with the help of an interesting cast that includes Tom Holland, Sebastian Stan, Robert Pattinson, Mia Wasikowska, Eliza Scanlen, Bill Skarsgard, Jason Clarke and Riley Keough.
-The Eyes of Tammy Faye: After being known as a sketch comedy goofball because of The State, Wet Hot American Summer and Stella, Michael Showalter reinvented himself as a director of small and human dramedies like Hello, My Name is Doris and The Big Sick. For his next project, he’s gonna mix a little bit of both worlds, because he has before him the story of the televangelists Tammy Faye Bakker (Jessica Chastain, who has been really trying to recapture her early ‘10 awards run to no avail) and Jim Bakker (Andrew Garfield, who was previously nominated for Hacksaw Ridge, instead of Silence, because why). With a real life tale that involves Christian theme parks, fraud and conspiracies, this is the kind of loud small movie that Searchlight loves to parade around, especially as an actors showcase (Jojo Rabbit being the most recent example). The first image looks terrifying, by the way.
-The Father: It’s weird to be in the middle of February and say that there’s already a frontrunner for the Best Actor race at the next Oscars. After its premiere in Sundance a couple of weeks ago, every prognosticator pointed in the direction of Anthony Hopkins (recently nominated for Best Supporting Actor in The Two Popes), who delivers a harrowing portrayal of an old man grappling with his age as he develops dementia, causing pain to his beleaguered daughter (recent winner Olivia Colman, who also got praised). With reviews calling it a British answer to Amour (in other words: it’s a hard watch), Florian Zeller’s adaptation of his acclaimed play not only benefits from having Hopkins and Colman together as a selling point, because it was acquired by Sony Pictures Classics, a distributor with experience in getting Academy voters to watch adult movies with heavy themes. If you don’t believe me, watch how they got Julianne Moore a win for Still Alice, as well as recent nominations for Isabelle Huppert for Elle, Glenn Close for The Wife, and Antonio Banderas for Pain and Glory. They know the game, and they are going to hit hard for Hopkins and Colman.
-The French Dispatch: If you saw the trailer, we don’t need to dwell too much on the reasons. On the one hand, we have the style of Wes Anderson, a filmmaker who has become a name in both the critics circle and the casual viewer, with his last two movies (The Grand Budapest Hotel and Isle of Dogs) earning several Oscar nominations, including Best Picture for the one with Gustave H. Then, we have a long cast that goes from the director’s regulars like Bill Murray to new stars like Timothee Chalamet, and also includes people like Benicio del Toro. The only thing that could endanger the Oscar chances for this is that the story, an anthology set around a period comedy with an European riff on The New Yorker, will alienate the average Academy member.
-The Humans: There’s the prestige of a play, and then there’s the prestige of a Tony-winning play. Playwright Stephen Karam now gets to jump to the director’s chair to take his acclaimed 2016 one-act story to the big screen, and A24 is cutting the check. Telling the story of a family that gets together on Thanksgiving to commiserate about life, this adaptation will be led by original performer Jayne Houdyshell (who also won a Tony for her stage performance), who’ll be surrounded by Richard Jenkins, Beanie Feldstein, Amy Schumer, Steven Yeun and June Squibb. If it avoids getting too claustrophobic or stagey for the cinema, it will be a good contender.
-The Last Duel: Always speedy, Ridley Scott is working on his next possible trip to the Oscars. This time, it’s the telling of a true story in 14th-century France, where a knight (Matt Damon) accuses his former friend (Adam Driver) of raping his wife (Jodie Comer), with the verdict being determined by the titular duel. It’s a juicy story, but there was some concern when it seemed that the script was only being written by Damon and Ben Affleck (who’ll also appear in the film). A rape story written by them after the Weinstein revelations… not the best look. But then, it was revealed that they were writing the screenplay with indie figure Nicole Holofcener, who last year was nominated for an Oscar for her script for Can You Ever Forgive Me? Let’s hope that the story is told in a gripping but not exploitative way, and that it doesn’t reduce the role of Comer (who deserves more than some of the movie roles that she’s getting after Killing Eve) to a Hollywood stereotype.
-The Power of the Dog: We have to talk about the queen of the indie world, we have to talk about Jane Campion. More than a decade after her last movie, Bright Star, the Oscar and Palme d’Or winner for The Piano returns with a non-TV project (see Top of the Lake, people) thanks to Netflix, with a period drama centered around a family dispute between a pair of wealthy brothers in Montana, Phil (Benedict Cumberbatch) and George Burbank (Jesse Plemons), after the latter one marries a local widow (Kirsten Dunst). According to the synopsis, “a shocked and angry Phil wages a sadistic, relentless war to destroy her entirely using her effeminate son Peter as a pawn”. Can’t wait to see what that means.
-The Prom: Remember the Ryan Murphy blank check deal with Netflix that I mentioned earlier? Well, another of the projects in the first batch of announcements for the deal is a musical that he’ll direct, adapting the Tony-nominated show about a group of Broadway losers (now played by the one and only Meryl Streep, Nicole Kidman, Andrew Rannells and, uh, James Corden, for some reason) who try to find a viral story to get back in the spotlight, and end up going to a town in Indiana to help a lesbian high school student who has been banned from bringing her girlfriend to the prom. The show has been considered a fun and heartwarming tale of acceptance, so the movie could be an easy pick for an average Academy voter who doesn’t look too hard (and you know that the Golden Globes will nominate the shirt out of this). It’s funny how this comes out the same year than Everybody’s Talking About Jamie, and then it’s not funny realizing that Film Twitter will pit the two movies against each other.
-The Trial of the Chicago 7: After getting a taste of the director’s taste with Molly’s Game, Aaron Sorkin wants more. For his second movie, he’s tackling one of his specialties: a courtroom drama. And this one is a period movie centered around the trial on countercultural activists in the late ‘60s, which immediately attracts a campaign of how “important” this movie is today’s culture. To add the final blow, we have a cast that includes Sacha Baron Cohen, Eddie Redmayne, Yahya Abdul-Mateen II, Jeremy Strong, Joseph Gordon-Levitt, Frank Langella, William Hurt, Michael Keaton and Mark Rylance. If Sorkin can contain himself from going over the top (and with that cast, it would be so easy to surrender to bouts of screaming and winding speeches), this could be one of the top contenders.
-Those Who Wish Me Dead: Having made a good splash in the directorial waters with Wind River, Taylor Sheridan (also known for writing the Sicario movies, the Oscar-nominated Hell or High Water or that Yellowstone show that your uncle raves about on Facebook) returns with yet another modern Western. For this thriller based on the Michael Koryta novel, Angelina Jolie stars as a survival expert in the Montana wilderness who is tasked with protecting a teenager who witnessed a murder, while assassins are pursuing him and a wildfire grows closer.
-Untitled David O. Russell Project: Following the mop epic Joy, that came and went in theaters but still netted a Best Actress nomination for Jennifer Lawrence, the angriest director in Hollywood took a bit of a break (it didn’t help that he tried to do a really expensive show with Amazon starring Robert De Niro and Julianne Moore that fell apart when the Weinstein exposes sank everything). Now, he’s quickly putting together his return to the days of Oscar love that came with stuff like The Fighter, Silver Linings Playbook and American Hustle, with a new movie that is set to star Christian Bale, Margot Robbie and Michael B. Jordan. Even though we don’t know many details (some people are saying the movie is called Amsterdam) except for the fact the movie hasn’t started shooting yet, David is a quick guy, so he’ll get it ready for the fall festival circuit. If there’s one thing that David O. Russell knows (apart from avoid getting cancelled for abusing people like Lily Tomlin, Amy Adams and his niece), it’s to make loud actor showcases.
-Untitled Nora Fingscheidt Project: When Bird Box became one of the biggest hits on Netflix history, the streamer decided to keep itself in the Sandra Bullock business. Sandy’s next project for Ted Sarandos is a drama where she plays a woman who is released from prison after serving time for a violent crime, and re-enters a society that refuses to forgive her past. To get redemption, she searches her younger sister she was forced to leave behind. With the direction of Fingscheidt, who comes from an acclaimed directorial debut with Systemsprenger (Germany’s submission to the last Academy Awards), and a cast that also includes Viola Davis, Vincent D’Onofrio and Jon Bernthal, this will also hopefully try its luck later this year.
-Untitled Paul Thomas Anderson Project: We don’t know if this movie will be ready for the end of the year (although last time, he managed to sneak Phantom Thread under the buzzer and earn several Oscar nominations, including Best Picture), but PTA is apparently gonna start to shoot it soon, with the backing of Focus Features. After several movies with prestige locations and intricate production design, Film Twitter’s Holy Spirit will go back to the San Fernando Valley in the 1970s, to tell the story of a high school student who is also a successful child actor.
-Stillwater: Tom McCarthy’s recent career is certainly puzzling. After delivering the weird lows of The Cobbler, he bounced back with the Best Picture winner that was Spotlight. And following that, he… helped produce the 13 Reasons Why series. And following that… he made Timmy Failure: Mistakes Were Made, a Disney+ original movie. Now, he’s back to the award race with a drama starring Matt Damon, who plays a father who rushes from Oklahoma to France to help his daughter (Abigail Breslin), who is in prison after being suspected for a murder she claims she didn’t commit.
-West Side Story: To close things, we have to see one of the possible big contenders of the season, Steven Spielberg’s adaptation of the iconic musical that translates Romeo and Juliet to the context of a street gang war in 1950s New York. While the decision to adapt again something that has been a classic both in Broadway and in movie theaters almost 60 years ago is a challenge, the idea of Spielberg doing a musical closer to the stage version with Tony Kushner as the writer is too tempting for the average Academy voter, who is already saving a spot in major categories in case Steven nails it in December. However, there’s two question marks. First, how well will Ansel Elgort and newcomer Rachel Zegler stand out in the roles of Tony and Maria? And second, will In the Heights steal some of the thunder of this movie by being, you know, more modern?
Control - Review Thread
Game InformationGame Title: Control
Genre: Action-adventure, science fiction, third person, telekinesis, levitation
Platforms: PlayStation 4, Xbox One, PC
Media: E3 2018 Announcement Trailer
Dev Diary 01 - Introducing the Story | 02 - Introducing the Gameplay | 03 - The Oldest House
04 - A New Remedy Protagonist: Introducing Jesse Faden | 05 - The Key Players: Directors Old and New
Courtney Hope (Jesse Faden) Community - Q&A | Remedy Entertainment Studio Tour by Jesse Faden
GDC 2019 RTX Real-Time Ray Tracing Demo
06 - Dynamic Gameplay & Reactive Environments | 07 - Behind the Sounds
E3 2019 Teaser | E3 2019 RTX Trailer (1080p/60fps)
08 - How to fight the Hiss | 09 - Making the Sweet Music
Gamescom 2019 RTX Trailer
Story Trailer | Launch Trailer
Developer: Remedy Entertainment Info
Developer's HQ: Espoo, Finland
Publisher: 505 Games
Price: $59.99 USD / £49.99 GBP / 59,99€ EUR / $79.99 CAD
Release Date: August 27, 2019
More Info: /controlgame | Wikipedia Page)
OpenCritic - 84 | 90% Recommended [Cross-Platform] Score Distribution
MetaCritic - 81 [PS4]
MetaCritic - 84 [XB1]
MetaCritic - 85 [PC]
Intractably arbitrary list of past games from Remedy Entertainment -
|Entry||Score Platform, Year, # of Critics|
|Death Rally||85 GameRankings MS-DOS, 1996, 1 critic|
|Max Payne||89 PC, 2001, 32 critics|
|Max Payne 2: The Fall of Max Payne||86 PC, 2003, 46 critics|
|Alan Wake||83 X360, 2010, 100 critics|
|Alan Wake's American Nightmare||76 X360, 2012, 72 critics|
|Quantum Break||77 XB1, 2016, 106 critics|
|Website/Author||Aggregates' Score ~ Critic's Score||Quote||Platform|
|Polygon - Dave Tach||Unscored ~ Unscored||I can’t separate Control’s deliberate oddities from its beauty or from its characters, and that’s what makes it so easy to recommend. This is one of the best games of the year.||PC|
|The Verge - Andrew Webster||Unscored ~ Unscored||While it can be tedious at times, Control is worth experiencing for the atmosphere alone. It’s the kind of place that feels both alien and mundane, and it becomes richer and more compelling the further you delve into it.|
|Rock, Paper, Shotgun - Brendan Caldwell||Unscored ~ Unscored||I can’t overstate the fact that it’s a funny game – funny enough that the humour keeps you going from fight to fight, searching not for the source of your mysterious enemy, or for the answer to all the sub-mysteries surrounding Jesse, but for the next episode of the Threshold Kids.||PC|
|Ars Technica - Sam Machkovech||Unscored ~ Unscored||If you seek exhilarating third-person action, buy this before year's end. If you own a PC GPU that supports DirectX 12 ray tracing, buy this immediately.||PC|
|Eurogamer - Christian Donlan||Recommended ~ Recommended||Giddy action and astonishing art design combine in one of the great locations of modern video games.|
|AngryCentaurGaming - Jeremy Penter||Buy ~ Buy||This is a 'Buy' from me, I think it's worth it. You can actually get this for $50 I saw on Amazon. You can get at $60 on the MS Store. I don't know what it is on Epic Store, they're there as well, but really to me, $50 or $60 this is still worth it if you like these kind of games. Obviously, may not be the longest game in the world, but what is there is really enjoyable despite some of those performance issues which I really do hope get locked up. And as I said, this is isn't based mostly on the console versions which did have more performance issues than I would have liked, so keep your eye out there to see some reports when the game goes live.||PS4, XB1, PC|
|EGM - Michael Goroff||100 ~ 10 / 10||Control is Remedy at the height of its abilities. Finally, the studio's expert handling of tone and story is met with gameplay that's just as engaging and refined. As an experiment in nonlinear world design, Control doesn't just stick with tried-and-true waypoints and forests. Its Oldest House is a brutalist masterpiece, and the characters inhabiting it are just as unforgettable. All told, it's going to be one of the most memorable games of the year.||XB1|
|Saving Content - Justin Celani||100 - 5 / 5||Fans of single player games who love shows like X-files, Twin Peaks, and the sort,this is a must play. It’s refreshing to get a superbly crafted, story driven game, with no multiplayer and no micro transactions in today’s market. Fans of the genre need to have Control in their sights and I truly hope Remedy has a bonafide success on their hands. Control is one of the weirdest, fascinating, and most intriguing games I’ve ever played, a wild ride for sure. I’ll be there for the future DLC and a sequel if one ever comes.||PC|
|Stevivor - Steve Wright||100 ~ 10 / 10||Play Control for its lore, its sense of exploration or its combat, but the bottom line is this: you simply need to play it. It is absolutely my favourite Remedy game to date.||XB1|
|Spiel Times - Caleb Wysor||100 ~ 10 / 10||If players give it time, and accept it on its own terms, they’ll find a masterpiece of third person action, physics-based chaos, and bravura visual design lurking under this thick slab of untreated concrete. This isn’t just Remedy’s best game since Max Payne 2. It’s the best game the studio has ever made.||PC|
|GamingTrend - Ron Burke||95 ~ 95 / 100||Control manages to take the awesome cutscenes we see in other games and makes them playable. A bizarre adventure with rewarding power fantasy, this is the culmination of all previous Remedy games. Part exploration game, and part sci-fi shooter, Control blends a tight narrative, stunning graphics with RTX-powered lighting, and a hub-based world to create something entirely new and absolutely gorgeous.||PC|
|PowerUp! - Leo Stevenson||94 ~ 9.4 / 10||It's impeccably designed, masterfully executed and an absolute must-play.||PS4|
|Video Chums - Charlie Jackson||93 ~ 9.3 / 10||Control is truly unforgettable with loads of ways to play, terrific acting, lots to explore, satisfying gunplay and abilities, and a spectacular world and story to experience.||XB1|
|Glitched Africa - Wessel Minnie||92 ~ 9.2 / 10||In the end, Control delivers a brilliant story that kept me on the edge of my seat for roughly 20 hours. The story pacing is simply fantastic and for every bit of combat and puzzle-solving, there are new mysteries to uncover through environmental storytelling and collectables. Combined with the fantastic story is the combat and movement that feel so incredibly smooth and responsive, making it a near-perfect all-around experience that looks and feels great.||PS4|
|Indie Ranger - Trevor Poole||92 ~ 92 / 100||That being said, I still think Control is an amazing experience that without a doubt any fan of action-adventure games should get their hands on. The combat encounters are frantic, frenetic, and fun. The storytelling and visuals are bonkers along with every strange, sometimes hilarious, concept thrown into the countless notes and documents you can find in the game.|
|Rectify Gaming - Dave Rodriguez||90 ~ 9 / 10||Control represents the best of Remedy's past while pushing their blend of great action and storytelling to new heights.||PC|
|Slant Magazine - Steven Scaife||90 ~ 4.5 / 5 stars||With its everything-but-the-kitchen-sink imagination, Control is as much a thrilling paean to human curiosity as it is a warning of its numerous casualties.||PC|
|GameSpew - Richard Seagrave||90 ~ 9 / 10||Control is so good that even when faced with such annoyances you just jump right back in. It’s like a Remedy greatest hits compilation, taking the best bits from all of the studio’s previous titles while adding a Metroidvania spin, and it really works.||XB1|
|Destructoid - Brett Makedonski||90 ~ 9 / 10||Control is a weird, enigmatic, perplexing masterpiece. It's also Remedy's most well-rounded work yet. Like Jesse levitating far off the ground, Control signifies Remedy is capable of ascending to great new heights.||XB1|
|Easy Allies - Michael Huber||90 ~ 9 / 10||Control blends storytelling and action as you try to unravel the mysteries of a paranormal agency in crisis. Written||PS4|
|TheSixthAxis - Aran Suddi||90 ~ 9 / 10||Control is one of the best story-focused single player games in years. Its unique mix of surrealism, sci-fi and mystery draws you in, but doesn't give everything away, and the combat is fantastically varied and provides just enough challenge. A culmination of everything that went before, Control is Remedy's magnum opus.||PS4|
|GamesRadar+ - Sam Loveridge||90 ~ 4.5 / 5 stars||The perfect blend of narrative and gameplay, coherency and strangeness, Control is a game we'll be talking about for generations.||PC|
|PCGamesN - Phil Iwaniuk||90 ~ 9 / 10||A gripping descent into something between alternate history and fever dream, realised beautifully in audiovisual flair, and lacking just slightly in the combat itself.||PC|
|Screen Rant - Zak Wojnar||90 ~ 4.5 / 5 stars||Control is a worthwhile heir to Remedy's past while forging a bright vision for the future.||PS4|
|PCWorld - Hayden Dingman||90 ~ 4.5 / 5 stars||Control is the culmination of Remedy's entire oeuvre to-date, pairing a top-tier action game with a dizzyingly dense and layered story about the Federal Bureau of Control, and the everyday horrors within. It's so good, you might even stop asking for Alan Wake 2.||PC|
|Game Revolution - Michael Leri||90 ~ 4.5 / 5 stars||From its narrative to its world to its puzzles and combat, Control intrigues its players and invites them to think and rewards them handily for doing so; a true remedy for overly linear and coddling game design.||PS4|
|Echo Boomer - David Fialho - Portuguese||90 ~ 9 / 10||Control is absolutely insane! From its crazy and surreal concepts, fast-paced and visceral gameplay, to its gorgeous visuals, Remedy went all out with something so incredible that transcends the medium and can only be done in a video game.||PC|
|Fextralife - Yuria||90 ~ 9 / 10||Fast-paced action tied in with an intriguing story about a secret organisation which you will need to explore and discover it's hidden secrets. Visually detailed with polished fun gameplay, combining telekinetic powers with shooter combat. A playthrough could take 10 to 15 hours or more depending on the level detail you pay. A full thumbs up for this one.||PC|
|Next Gen Base - Ben Ward||90 ~ 9 / 10||Control has some very clear threads going back to Quantum Break, but it’s a game that far surpasses Remedy’s predecessor in many ways. A weird, creepy and wonderful exploration of an environment that has been meticulously crafted, it’s a must-play. Plenty of collectibles and side missions should keep you hooked for long after the final credits roll, and I really hope that this brings Remedy the commercial success that it so obviously deserves.||PC|
|MSPoweruser - Lewis White||90 ~ 9 / 10||Control is one of Remedy’s Entertainment’s most inventive and captivating titles yet. For those still bummed out over the disappointing Quantum Break, Remedy has done well to improve on everything that upset players before. There’s more of everything: combat, content, style and story. This is the proud return of Remedy: distanced from the cold grasp of television, this is a full, lengthy title that always entertains.This is one of Remedy’s best.|
|Digitally Downloaded - Harvard L||90 ~ 4.5 / 5 stars||For the most part, Control is a resounding success.||PS4|
|Everyeye.it - Andrea Porta - Italian||90 ~ 9 / 10||If Remedy decides to leave the history of the Bureau "in isolation", or expand it in the future, we still cannot know it: the hope, of course, is that the Old House represents only a first step in this strange, crazy and beautiful universe.||PS4|
|GameSkinny - Mark Delaney||90 ~ 9 / 10 stars||Control is undoubtedly Remedy's biggest and weirdest game yet. In many ways, it's also their best, all while it paves the way for a Marvel-like connected universe.||XB1|
|COGconnected - Paul Sullivan||89 ~ 89 / 100||Even with its imperfections, the incredible design, storytelling, and gameplay chops on display boil down to this: Control is the best game Remedy has made, and it’s one of the most unique narrative action games out there.||PS4|
|IGN - Jonathon Dornbush||89 ~ 8.9 / 10||Control is set in an engrossingly weird paranormal world that I couldn’t help but explore.||PS4|
|PC Gamer - James Davenport||88 ~ 88 / 100||Control's thin protagonist and abrupt ending are propped up by an abundance of mystery, wonder, and glorious room-destroying combat.||PC|
|Heavy - Elton Jones||88 ~ 8.8 / 10||Control is a pretty impressive third-person action romp that’s held up by a far-out story, strong visuals/audio, and a reliance on telekinetic powers that make combat and exploration all the more interesting.||PS4|
|Noisy Pixel - Azario Lopez||85 ~ 8.5 / 10||Control stretches the imagination of reality and takes the player on an unexpected journey. The developers took a huge chance on their approach to storytelling and their ability to navigate players through new and unique systems and it pays off.||PS4|
|Xbox Achievements - Dan Webb||85 ~ 85 / 100||Control is another absolute hit from Remedy, one that delivers from both a gameplay and narrative perspective. One of the generation's most intriguing game worlds and almost perfect pacing, the only thing that holds Control back from being an all-time classic is its unfortunate and frustrating technical issues.||XB1|
|Critical Hit - Geoffrey Tim||85 ~ 8.5 / 10||Control is an intriguing, fascinating experience. The third-person action, while slick and elegant, is perhaps a little pedestrian - but the completely bonkers story and the rewarding sense of exploration and discovery help cement Control as one of Remedy's best games.||PC|
|PSX Brasil - Ivan Nikolai Barkow Castilho - Portuguese||85 ~ 85 / 100||Despite its confusing story, Control is a great action adventure game with a varied gameplay. The idea of a weapon being used for all functions, combined with all of Jesse's psychic powers, makes combat work very well. The simplified "metroidvania" style is also very good, making Control to be not so linear.||PS4|
|Geek Culture - Jake Su||85 ~ 8.5 / 10||Control draws you in with its wonderfully crafted world, and never unhooks its claws of fun combat and a tremendous Metroidvania experience.||PS4|
|PushStartPlay - Richard Lee Breslin||85 ~ 8.5 / 10||Control is most certainly a game worthy of your time and I doubt that you’ll play a better thriller shrouded by mystery this year||PS4|
|Boomstick Gaming - Deadite AGK||84 ~ 8.4 / 10||Control is an amazing third-person action shooter that is a spectacle to behold when its combat is firing on all cylinders that is only limited by its somewhat anemic core systems and hit-and-miss storytelling. If you go into Control with the right frame of mind, you'll definitely enjoy the tightly crafted, psychological journey that Remedy has laid out for you.||PC|
|New Game Network - Ben Thomas||81 ~ 81 / 100||Control offers some of the best combat from Remedy, balancing supernatural abilities with a handy service weapon. Its non-linear twisted levels, populated with varied Hiss enemies, make for an appealing supernatural world. With a better protagonist and some fine-tuning, it could have been truly extraordinary.||PC|
|Worth Playing - Chris "Atom" DeAngelus||80 ~ 8 / 10||Control is a fun follow-up to the sort of weird surreality from Alan Wake without being a direct story sequel. It has distinctive visuals, a dark sense of humor, lots of fourth-wall breaking, and enjoyable combat. If you're looking for a shooter with its own sense of style and a solid amount of content, look no further than Control. Just don't start getting paranoid about why your controller wasn't where you last saw it....||PC|
|Wccftech - Alessio Palumbo||80 ~ 8 / 10||Control features Remedy's most original setting yet, the studio's most open-ended game environment yet and great action combat that makes you feel like a badass. The game also stands out on PC as one of the finest examples of real-time ray tracing to date. It shouldn't be passed upon by any action/adventure game fans, even if it's not quite a masterpiece.||PC|
|VideoGamer - Josh Wise||80 ~ 8 / 10||Control is Remedy at its best: pulpy, weird, and immensely satisfying to play. Its setting is a potent concoction of '60s brutalist style and wacky sci-fi. Performance issues hamper the shootouts, and the characters are a little cold, but it's the setting and atmosphere that win the day.||XB1|
|GameSpot - Peter Brown||80 ~ 8 / 10||A different kind of haunted house makes Control hard to resist.||PS4, XB1, PC|
|Gameblog - Rami Bououd - French||80 ~ 8 / 10||Control is a true Remedy experience, with some nervous and satisfying action, fantastic story and narrative elements, and stimulating exploration... And that very wird touch that makes it unique. And very good.||PS4|
|TrustedReviews - Jade King||80 ~ 4 / 5 stars||Control is one of Remedy Entertainment’s greatest achievements. As a shooter, it’s lovingly satisfying to play, as all of its mechanics mesh to create a slick, supernatural explosion of paranormal powers and eclectic gunplay. Combine that with open-ended exploration and the package is nearing excellence. So it’s a shame the narrative can be needlessly muddled, stewing at a slow pace before rocketing towards a conclusion that sadly doesn’t feel earned in the end.|
|USgamer - Mike Williams||80 ~ 4 / 5 stars||Control continues the basic formula that Remedy Entertainment has been playing with for all these years—third-person action with a hint of unreality—but it feels like the studio has reached its final form.||PS4|
|Daily Star - Ben Walker||80 ~ 4 / 5 stars||Control interweaves a superlative environment with brilliant combat and stellar map design. I just wish that the enemies were more varied at times and the story was a bit more compelling, but that doesn’t make the game bad at all. Control is a wonderful experience that any Remedy fan or supernatural connoisseur would enjoy.||PC|
|Gaming LYF - Charles Tyldsley||80 ~ 4 / 5 stars||Control is a fantastic game that comes so close to being an absolutely incredible one. Providing some of the best gameplay Remedy have created since Max Payne, it's an undoubtedly fun game with an intriguing story. Some areas such as the weapon and environment variety only slightly negatively impact what's an otherwise brilliant title.|
|GotGame - David Poole||80 ~ 8 / 10||If you like weird and supernatural games, this one is worth picking up. If you prefer a game with less thought and more action, then it might not be your cup of tea. Even so, there's plenty of intense action in Control.||XB1|
|WellPlayed - Kieran Stockton||80 ~ 8 / 10||Control's unique multi-dimensional setting and quirky sci-fi tone make for a good time, even when the combat doesn't quite rise to the same level||XB1|
|Handsome Phantom - Dustin Furman||75 ~ 7.5 / 10||Overall, Control has severe highs and lows. The mix of shooting and power based combat feels great, and features a robust system of mods and upgrades that allow you to customize to how you prefer to play. Additionally, The Oldest House is a unique environment, and is at the core of what makes the premise of the game so intriguing. Unfortunately, it gets in its own way by gating off so much of the details and lore through countless documents and audio logs that break the flow of the game. With an ending that leaves many questions unanswered and plot points unresolved, it leaves players unsatisfied and wondering "is that it?"||PC|
|DualShockers - Logan Moore||75 ~ 7.5 / 10||Remedy Entertainment's latest game, Control, continues to embrace the weirdness that has permeated in the studio's past titles but fails to excel in any one area.||XB1|
|PlayStation Universe - Eric Hauter||70 ~ 7 / 10||Remedy's Control might eventually be one of the coolest games on the market, but upon release framerate, balance, and popup issues are so rampant that players are forced to change their style of play to work around the bugs. While Control's world-building, performances, and writing are all superb, the difficulties in actually playing through the game to see all that cool stuff leads to a deep sense of frustration.||PS4|
|Windows Central - Brendan Lowry||70 ~ 3.5 / 5 stars||Though it has an excellent foundation, Control never truly achieves greatness. It's a solid game, but not a title that will wow most players.||XB1|
|Push Square - Liam Croft||70 ~ 7 / 10||There's no doubting that Control is a good experience, but it's not one that'll go down in the history books. Its explorative and combat-focused gameplay is a major highlight thanks to abilities that give you the chance to get creative, but the unreliable framerate that goes with it puts a stop to the enjoyment far too frequently. This is most definitely worth playing, but that's about as far as any substantial praise can go.||PS4|
|Twinfinite - Ed McGlone||70 ~ 3.5 / 5||In spite of itself Control still winds up being an enjoyable unique feeling action game that isn’t like anything else on the market right now, and won’t take up a ton of your time.||PS4|
|The Digital Fix - Yannis Vatis||70 ~ 7 / 10||While some technical issues plague this highly atmospheric action adventure, Control has a highly customizable combat system that is fun and addictive to play.||PS4|
|We Got This Covered - Dylan Chaundy||40 ~ 2 / 5 stars||Thanks to poor "bigger is better" design choices, technical gaffes, obtuse exploration, a bromidic narrative, and zero atmosphere, Control is soul-crushingly disappointing, and a mere shadow of the studio's far superior Alan Wake.||PS4|
Thanks OpenCritic for the initial review data import