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Capcom has released a Resident Evil 7 update that allows Xbox One X owners to enjoy some extra visual bells and whistles as they try to escape the Baker Estate and its unhinged proprietors.

With the update installed, the game will now output at 4K resolution and support HDR on the Xbox One X. According to a comparison video published on the Xbox YouTube channel, it will also have “improved skin tone display through Screen-Space Subsurface Scattering.” Check out the video below.

If you haven’t played Resident Evil 7 yet, this is the perfect opportunity to do so. And if you have, it’s a great excuse to replay it. Resident Evil 7 was one our favourite games of 2017 and was awarded the No.4 spot on our overall Best Games of 2017 list.

In GameSpot’s Resident Evil 7 review, Scott Butterworth awarded it an 8/10. “Resident Evil 7 ends just as it starts to outstay its welcome, and after the fact, I felt like I’d survived a truly harrowing journey,” he said. “The boss fights may be slightly inconsistent and certain sections might drag after a while, but RE7 is still a remarkable success. It has a clear vision and executes it with impressive patience and precision. By returning to horror, Resident Evil has once again become something special.”

A new Duke Nukem movie starring John Cena in the lead role is on the way, and now we’ve learned more about it. Producers Andrew Form and Brad Fuller discussed the upcoming film in an interview with CinemaBlend. The Nukem character is brash, outspoken, and sexist.

Form admitted that it has been a struggle to come up with ideas for how to make the Duke Nukem movie “a really fun ride” despite the title character’s tone.

“You know that having a misogynistic guy in today’s world, how do you make that fun and loveable?” he said. “And at the same time he’s got to be an incredible badass, so those are the things that we’re struggling with and we’re going to try and come out with what I hope is a really fun ride. That’s the goal, is for it to be a really fun ride.”

Form went on to say that they won’t make the movie if the tone is off. He cited Deadpool as an example of a film with a brash leading character that got it right.

“How do you nail that tone in the way that Deadpool nailed the tone?” he said. “I think we have to do that and if we don’t get the tone right then we’re not going to make the movie.”

It is still early days for the Duke Nukem movie. There is no script yet, Form confirmed. And it sounds like Cena is not 100 percent locked in for the role yet. “If he reads the script and he doesn’t like the script I’m sure there’s ways that he could pull out, but right now he’s our guy,” Form said.

You can read the full interview and story here at CinemaBlend.

The Duke Nukem video game series has been dormant since 2011’s critically panned but million-selling Duke Nukem Forever. Gearbox Software, which owns the rights to the Duke Nukem series, confirmed in 2015 that it had done some concept work on a all new, “head-turning” Duke Nukem game. However, Gearbox might not make the new game.

Wes Anderson’s talent for creating whimsical film worlds is unique–no one is better than him at building intricate, candy-coated dioramas masquerading as movie sets and plots. Where many directors strive to make movies that seem as realistic as possible, Anderson bends reality until it drips in slow motion with deep cut ’70s alt rock b-sides and non-sequitur one-liners that get right to the heart. Isle of Dogs is one of his most Anderson-y films yet, but somehow, it’s also more focused, driven, and pared down than anything the director has done before.

Wes Anderson movies rub some people the wrong way. Everything’s too cute, and the dialogue often sounds unlike how people actually talk. When Bill Murray’s Steve Zissou spends several minutes giving the viewer a tour of his boat in 2004’s The Life Aquatic–on an incredibly intricate set of a full-sized boat split lengthwise in half–it can feel overly self-referential. Are these characters aware they’re in a movie? Does this advance the plot, or is it no more than showboating?

I get the complaints. But to me, Wes Anderson movies are great because of all that–the feeling that it’s all make believe, that these characters are play-acting, grandstanding, aware of their own limited existences and determined to make the most of the scant time for which they have our attention. They’re all so deeply flawed, in high contrast with these otherwise perfect movies, where the musical, thematic, and visual cues all swirl together deftly at each emotional climax. (Take a minute to read about the sheer amount of work that went into building Isle of Dogs‘ world, and you’ll understand.)

There’s usually a lot going on in a Wes Anderson movie, but that’s where Isle of Dogs differs. What B-plots briefly flit into existence are quickly folded back into the main storyline: a boy looking for his dog on Trash Island.

Unsurprisingly, Isle of Dogs boasts an impressive cast, including Edward Norton, Billy Murray, Jeff Goldblum, Greta Gerwig, Frances McDormand, Scarlett Johansson, Tilda Swinton, F. Murray Abraham, and Yoko Ono. But there are two who really matter: Bryan Cranston, who voices the rough (ruff), intimidating stray dog Chief, and Koyu Rankin, the boy Atari. They’re the main characters, and everyone else exists in service to their story and their character development. That’s not a bad thing; it’s just unusual for a Wes Anderson movie.

This is Anderson’s second stop motion animation film, after 2009’s Fantastic Mr. Fox. That alone sets it somewhat apart from the rest of his movies. But in Isle of Dogs he also foregoes some of the stylistic quirks he usually relies so heavily on, from the frequently deployed slow-mo (check out the excellent supercut below) to the normally Kinks/David Bowie/Rolling Stones heavy soundtracks.

The dominating audio in Dogs is the sound of Japanese Taiko drums and the musical score that composer Alexandre Desplat built around them (no matter what the official soundtrack might have you believe). The movie opens and ends on stop-motion musicians beating these drums with impressively intricate animation–another signature Anderson diorama set piece, complete with diegetic sound, but one that drives the movie forward rather than providing interlude or distraction.

That’s how Isle of Dogs moves: It charges forward toward its conclusion like a dog chasing a ball, and when it gets there you might experience emotional whiplash. The climax comes and goes before you can fully process it, and it’s all denouement from there. At just over 100 minutes, Isle of Dogs could have used a little more time spent on some of its side characters and subplots, and a little more at the end. But there’s a silver lining there: Isle of Dogs is Wes Anderson’s most focused film ever, and you’ll want to go through it again.