Marathon

In its ability to transform the drably mundane into something otherworldly, Marathon offers one of the most inventive reimaginings of the MTA since D.A. Pennebaker's 1953 cine-poem "Daybreak Express."

The real star, however, is Michael Simmonds, whose manic black-and-white camerawork captures the unique vibrancy of New York City. He helps turn one woman's obsession into a valentine to Gotham.

The beauty of Mr. Naderi's filmmaking lies in his combination of acute social observation (with the subway population providing its habitual cross section of New York classes and cultures) and pure, almost mathematical formalism.

The drama is as obsessive as its heroine. Crossword mavens may enjoy it, but it's too monomaniacal for comfort.

With so little action or even insight, Marathon is far too long at only 74 minutes. Perhaps for the sequel, we can come along as Gretchen watches paint dry.

The film is nearly unendurable.

Is there really a deep hidden meaning (DHM) to redeem this hopelessly dry and nebulous film? No, at least nothing that hasn't been done better before.

This game is a complete eyesore. The game art is a HARD PASS. Character and gun models are generic. Gunplay is acceptable, but not at the level of Destiny. Menus and music are like WHAT? Ffs, what is the deal with the moths? I mean nothing, absolutely nothing is appealing about this game. Bungie needs to remember that 85%+ of the population who play shooters are MEN. Marathon is made for another demographic.