Author: Trafficblast

Vacation Friends premieres on Hulu on Friday, Aug. 27.

Vacation Friends, starring Lil Rel Howery and John Cena, may not reach the absolute heights of comedy, but it’s still an enjoyable hang featuring fun chemistry and another standout performance by Cena (in what’s become a summer bubbling over with good ol’ John).

When headlining wrestlers transition over to movies, the first instinct is usually to start them out as a straightforward action star. Dwayne “The Rock” Johnson traveled this path, with films like The Scorpion King, The Rundown, and Walking Tall, and while he was fine in those films, Johnson was able to separate from the pack because of SNL and Be Cool.

Similarly, Cena began with stunted actioners like The Marine and 12 Rounds, but it was Trainwreck and Blockers that helped him ascend. It took someone being able to see beyond a dude seemingly sculpted out of stone to give him a chance to show off his true charisma. The same can even be said of Dave Bautista and his MCU Drax role. The actual comedy, and improv, talents of top-level wrestlers cannot be understated.

So, naturally, Cena is pure joy here, as he’s able to use his wit and charm to their fullest while also borrowing another key ingredient from wrestling: finding the right dance partner. Like Johnson, who was lighting up the screen this summer with Emily Blunt in Jungle Cruise, Cena is able to make magic with fresh and formidable scene partners. Both Howery and Insecure’s Yvonne Orji are great here as the “reactors” to Cena and co-star Meredith Hagner’s wild antics. Howery and Orji’s Marcus and Emily aren’t fully free, but also not firmly rigid, so they’re able to take a few beats to absorb the craziness while still having a blast partaking in it.

Vacation Friends isn’t mean-spirited. At first glance, it may seen like Cena and Hagner’s Ron and Kyla are destructively chaotic, like something out of a Hangover movie. It’s all a little warmer than that. This is not a “one guy annoys another guy for 90 minutes”-style comedy, though the ads may steer you into thinking that. Marcus and Emily genuinely like Ron and Kyla, and during their week in Mexico, the two couples have a good-natured (and only slightly debaucherous) time. It actually makes the petty and predictable blowup near the end of the movie feel a bit too forced, since this foursome only ever benefits from being friends. That third act conflict aside, the medium levels of shock here help the movie feel less aggravating overall and more enjoyable.

Much of the tension and conflict in Vacation Friends is fairly easy to map out ahead of time. It’s basically all misunderstandings which we’re way ahead of, and while that stifles the story a teensy bit, it doesn’t fully squash the fun. After Marcus and Emily have their raucous romp with Ron and Emily, who are wackily cordial and earnest (especially with drugs and sex), they go back to their old non-vacation lives until their wedding day arrives seven months later. Ron and Kyla unexpectedly show up, never realizing that they’d gotten the brush-off, and the stuffy affair (lorded over by Emily’s disapproving father, played by Robert Wisdom) livens up.

The only times Vacation Friends doesn’t really work is when it strains to make Marcus and Emily actually angry with Ron and Kyla, because, aside from a few instances, they’re actually incredible people who are liked by almost everyone. They just commit the sin (for the sake of comedy) of speaking freely in front of the repressed and uptight. Another bright spot here is Hagner, who you may have seen in Search Party or Palm Springs, as Cena’s zany partner in crime. These two obviously need Marcus and Emily to bounce their nuttiness off of, but they also need each other as perfectly synced-up social pterodactyls always willing to live every moment in life to the Nth degree.

He’s All That premieres Friday, Aug. 27 on Netflix.

He’s All That, a reworked and gender-flipped reboot of 1999’s teen rom-com She’s All That, is a deftly charming and capable update that takes the original premise, revolving around a glow-up “makeover” bet, and slides it effortlessly into 2021.

Directed by Freaky Friday and Mean Girls’ Mark Waters, He’s All That isn’t laugh-out-loud funny per se, but it does sweetly pull off the magic trick of presenting us with a handful of somewhat insufferable characters at the start and then slowly chipping away at them until they’re vulnerable and engaging. As Tanner Buchanan’s anti-everything grouch, Cameron Kweller, states at one point, high school is filled with scared people pretending to be something they’re not. He’s All That cradles this notion and uses it as a storyline strength for its two leads as they both discover what’s really underneath all that emotional armor.

TikTok star Addison Rae strikes gold with her first major role, parlaying her social media fame into a character who, similarly, lives her life online in an attempt to craft and cultivate a persona that helps her fit in at a rich and privileged school. Rae is able to give us a character, Padgett, who’s shallow, but has also worked very hard to become shallow, in an odd way. She’s a paid makeover influencer with an enormous following, but it’s all a means to an understandable end. Meanwhile, Buchanan nicely channels some of his angry outsider vibe from Cobra Kai to give us Cameron, who’s off-putting to the point where you can understand why he’s ostracized.

One of the lingering jokes/tropes from She’s All That, which also permeates a lot of other rom-coms, is the idea that an attractive person, like Rachael Leigh Cook’s Laney, somehow isn’t beautiful until she takes off her glasses and puts on makeup and formal wear. That’s ridiculous, obviously. He’s All That still has a bit of this as background noise, though it gives us more of a reason why Cameron makes for a perfect “I can make him Prom King” bet. No one thinks Cameron is unattractive; he’s just an unbearable malcontent. He’s a growling culture snob who would be an absolute pain in the ass to hold a conversation with. In that regard, He’s All That’s biggest triumph may be making him actually enjoyable by the end rather than redeeming the so-called superficial Instagram girl.

Rae and Buchanan work very well together, as he begins to soften and smile and she — well, see, she’s always been a good person. Mostly. There’s an element of Padgett’s online personality that requires a bubbly and ever-positive demeanor, but that’s also Padgett’s factory setting. She’s able to connect with Cameron, to his surprise, because she’s not the person most people think she is. The romance here comes easily and naturally, and the film smartly leans heavily on the winning charisma of these two. It’s a reboot that has a few nudging nods to the original but also stands on its own as just an adorable and appealing story.

Original She’s All That stars Cook and Matthew Lillard also appear in supporting roles, but not as their O.G. characters, as this isn’t a legacy sequel. After all, Cook plays Padgett’s mother, and there’s no way a grown-up version of Laney would let Padgett coat herself with the false front she uses for her high school life. Here, simply playing Padgett’s hard-working nurse mom, Cook can be a supportive wisdom-dispenser without the baggage of being Laney. Lillard’s earnestly befuddled principal, meanwhile, makes for a silly third act scene stealer.

As a result of a class-action lawsuit from US app developers, Apple has announced a slew of changes to the App Store as part of a proposed settlement agreement. US developers filed litigation against the tech giant back in 2019 to break the tech giant’s “improper monopolization” of iOS apps.

Pending approval from the court, Apple will payout $100 million and also clarify several of its app store policies. Most notably, it will allow developers to reach out to customers (with permission from the user) to collect information inside their apps, allowing them to email about alternative payment options available outside the App Store.

Developers on the App Store could previously communicate with customers outside of their apps and even collect payments outside of their apps (e.g. renewing a Netflix subscription on the official Netflix website). But prior to this proposed settlement, developers were not allowed to communicate with iOS customers about other payment options available outside of the App Store.

However, the potential changes to the app store would still not allow developers to inform iOS users about alternative payment options from within the app itself so that developers could bypass the “app store tax,” a 30 percent cut Apple receives from the in-app payment system. Apple’s in-app payment cut has been the subject of a different lawsuit filed by Epic Games last year, which a federal judge is currently reviewing after the case was argued in May.

Another concession Apple will make should the proposed agreement get approved for the case Cameron et al. v. Apple Inc, is that the iPhone maker will create a Small Developer Assistance Fund. It will payout $100 million, divided among small developers who make $1 million or less, with payouts varying depending on how many people submit and are approved for their claim. The remaining funds will be donated to the nonprofit Girls Who Code. The website is up, but it is not fully operational, likely due to the settlement pending approval from a judge.

Taylor is the Associate Tech Editor at IGN. You can follow her on Twitter @TayNixster.

When I interviewed Hidetaka Miyazaki back in June about Elden Ring, one of the things that really stuck with me was how so many of his answers came back around to this core theme of Elden Ring being all about freedom and choice. Having now watched about 15 minutes of gameplay from a variety of sections of the game, I now fully get what Miyazaki was saying, and how Elden Ring offers more options and flexibility than anything From Software has worked on in the past.

The gameplay demo opened up with a look at Elden Ring’s first open field, which spread out in every direction with a number of easily visible points of interest. To the left was a small watch tower, far off in the distance straight ahead was the gigantic glowing Erd Tree, and just in front was a site of lost grace, which will serve as the game’s bonfire checkpoints. But what’s interesting about them is that some will cause a light to lead the way towards a recommended path, but of course, it’s up to you whether you actually follow that path or not.

One of my takeaways from watching the open field gameplay was this feeling that you could encounter almost anything while exploring. In one section, the player approached a group of enemies gathered around a campfire, when all of a sudden, a gigantic Dragon swooped down in typical Souls fashion and took them all out in a single blow, which then prompted a massive boss fight. In another section there was a group of passive enemies walking along a trail escorting a giant carriage that could presumably be attacked and robbed of its contents, should you be skilled enough to survive the fight. In a different area, there was another carriage that was guarded, but this time by a large encampment of enemies that the player carefully snuck through without alerting the whole camp, even going as far as using a sleep arrow to silently pacify a guard.

Of course, in order to navigate across such a giant open field, you are able to summon a Spirit Steed, which can utilize special jump platforms to leap over cliffs, allowing for a ton of verticality in the open-world design. One big departure from previous Souls games (though one that makes sense with a world as massive as The Lands Between), is that you’ll now have access to a map. The map gets updated by finding map fragments throughout the world, and has the look of an actual illustrated parchment made by an actual cartographer who lives within The Lands Between. You can drop markers to note locations of tough enemies, NPCs, treasures, or dungeon entrances. As you’d expect, marked locations also place a beacon that’s easily visible in-game, allowing you to set your own waypoints when you’re looking for places to go next.

Dungeons can be found throughout the open field and of course, they’re full of enemies, traps, treasure, and even illusory walls. The one dungeon that I got to see seemed very basic in its design, with a room that featured a bunch of guillotine traps, and then a treasure room that was guarded by a handful of enemies ready to pounce when you went for the treasure, but since the gameplay I watched was cut up and segmented, I never really got a feel for how big or substantial it really was.

The Legacy Dungeon however I did get a feel for, and it felt massive. Legacy Dungeons are the main attraction of each of the six main areas of The Lands Between, and I got to see the first of them, Stormveil Castle. This particular Legacy Dungeon begins with a choice, you can either head through the main gate and suffer through an intensely challenging route full of enemies aware of your presence, or you could sneak around the side through a secret entrance that takes you along a lesser guarded, but still very dangerous, path with narrow walkways that will punish one errant dodge roll with a fall to your death.

Stormveil Castle definitely brought to mind comparisons to the Boletarian Palace from Demon’s Souls, right down to a section lined with explosive barrels and an enemy looking to ignite them all with an explosion of their own. Moments like these felt more like homage than anything else, and what really stuck out to me more than anything else was how enticing exploration felt with all of the various paths that were left unexplored in my hands-off demonstration. Way off in the distance was a house all by its lonesome on a narrow cliff that had me wondering how I could get to it; when the player looked back towards the cliffside I saw all sorts of unexplored platforms and shinies; and with the ability to freely jump, I constantly wondered if I could jump across certain gaps and find something on the other side. I was told that Legacy Dungeons were built with this kind of freedom in mind, and that they were designed to be complex and multi-layered, which is exactly what I had hoped to hear.

The Legacy Dungeon capped off with the player reaching a rooftop that oversaw the main path the player could have taken if they went through the main gate and fought through the army that awaited them. Since the enemies were unaware of their presence, the player was able to use a sleep arrow to incapacitate the giant beast guarding the boss door, and make it through undetected.

Finally, I got a little tease of the boss fight against the giant multi-armed lord from the trailer, and it was about the Soulsiest boss they could have possibly shown, with gigantic sweeping attacks, earth shattering slams, counter attacks that come out while it reels from being hit, and eventually, a second form with a transformed Dragon arm that spewed fire and had an unblockable grab that just roasted the poor player. It looked absolutely brutal and I can’t wait to try it myself.

Going back to the theme of player choice, all throughout the presentation I was reminded at just how much freedom and choice was offered to the player. The freedom to go in any direction right from the start in the open field; the freedom to engage or not engage the passive roaming enemies; the choice of whether to run or fight when the dragon swooped down; the choice of stealth or reckless violence when attacking the enemy camp; and the choice of whether to go through the main or side entrance in the Legacy Dungeon. None of this is all that new in the world of open-world RPGs, but in a From Software action RPG, it’s certainly an unprecedented level of choice, on top of the already existing customization of builds, weapons, and magic.

With every new bit of Elden Ring I see, the wait becomes increasingly more difficult to bear. But bear it I will, as Elden Ring is planned for release on January 21, 2022.

Mitchell Saltzman is an editorial producer at IGN. You can find him on twitter @JurassicRabbit

When Elden Ring was first announced, one of the biggest surprises is how it’s a collaboration between FromSoftware and A Song of Ice and Fire author George R.R. Martin. Since then, more information about the collaboration has come to light and while Martin was responsible for creating the overall world and mythos of Elden Ring, the in-game text is being director Hidetaka Miyazaki.

“In From fashion, the story is told in fragments, and we haven’t changed our principle of providing a world and narrative that the player can interpret for themselves,” FromSoft’s Yasuhiro Kitao says.

And while this means lore can still be discovered by item text and cutscenes, NPC dialogue will also contribute significantly to world-building, and Miyazaki is “at the forefront of the text, writing the text in the game.”

In an interview with IGN from earlier this year, Miyazaki explained that Martin helped build the world, including the Lands Between, and central narrative. However, Martin himself said that he finished his contributions to Elden Ring “years ago” and development continued to build on the foundations established by Martin.

Miyazaki praised Martin and said the author’s contributions led Elden Ring to be more character-focused than previous FromSoft games. “He brought things to the table that we couldn’t have done by ourselves, in terms of that rich storytelling and that sense of character and drama.”

Given that Martin’s most famous work involves complicated character dynamics and the way people interact with each other while vying for power, this makes sense. With the open-ended, in-game text handled by Miyazaki, it sounds like fans will get the best of both Miyazaki and Martin’s worlds in Elden Ring.

Check out IGN’s full preview of Elden Ring as well as how the new summoning mechanic is being carefully designed to not impact the game’s overall difficulty.

Matt T.M. Kim is IGN’s News Editor. You can reach him @lawoftd.