Archive: October, 2016

The PS4 Pro and Sony’s marketing problem

The PS4 Pro has serious potential. It has decent internal specs, a reasonable price point, and follows the popular base PS4. But we’re a less than a month away from the release date, and Sony’s marketing and PR wing feels asleep at the wheel. Performance claims, especially for those without 4K displays, are vague. And there’s few titles or publishers with Pro enhanced games ready for 2016. As someone bullish on a more iterative console cycle (for both Sony and Microsoft), that’s worrisome.

Granted, tech and home theater enthusiasts in the market for a PS4 won’t hesitate for the Pro. They already own 4K set or PS VR, or plan an investment in either over the next year or two. But this is a niche minority of potential buyers. For everyone else, Sony needs to step up its game and provide more information.

The Pro isn’t a routine tech release. This is the first time two consoles both labeled “PS4”, with the same game library and similar feature set, are on sale side by side. Yet one has $100 price tag for premium performance. That’s commonplace in consumer tech, but a first for game consoles. And consoles historically are very sensitive to price differences. Unless the marketing situation changes, I see few outside the enthusiast market paying extra for the Pro.

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A Most Violent Year: beauty within decay

NY skyline, cars

All stills are property of their respective owners and are used here strictly for educational purposes.

J.C. Chandor’s A Most Violent Year is the rare crime drama that balances epic and intimate themes well. Chandor’s screenplay makes big statements on capitalism and the American dream. But it’s also microcosmic in its scale, a character study of Abel Morales’ (Oscar Isaac) struggle to protect and grow his heating-oil business.

Abel built his company legitimately, and he takes pride in the righteousness of his decisions. Yet given external threats to his company, AMVY asks how much Abel will give into gangster-like behavior to stay ahead.

As underlined by the title, time and place is key to Abel’s predicament. New York City in 1981 had record high crime rates and was in the midst of a recession. Capturing the city rests on DP Bradford Young. His cinematography is authentic and realistic; rough edges, industrial sprawl and graffiti abound.

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