We’re in the home stretch of EW’s Summer Movie Body Count, our brave attempt to provide a coherent catalogue of every onscreen death in a major release during Hollywood’s blockbuster season. Fortunately for us overworked, underpaid obituarists at PopWatch HQ, Week 15 was dominated by a film that could practically be titled 
Final Destination 5 (henceforth 5inal) provides us with a difficult statistical anomaly: How do you count people who die twice onscreen, when both deaths are extraordinarily vivid, gory, and hilarious? READ FULL STORY »
There are certain videogames that you play when you are very young — say, between the ages of 6 and 9, when your brain is still stitching itself together and your hormones haven’t fully kicked on — that occupy a curiously strong place in your memory. As you get older, the games begin to take on the double resonance of literal memory and recurring dream; they can even begin to seem more real than your actual memories from that time. For me, Eric Chahi’s Out of This World is that game. A semi-forgotten example of a semi-forgotten genre released in the semi-forgotten era when people still owned Amigas, Out of This World (which was rather poetically titled Another World everywhere except America) is an eerily silent cinematic platformer which follows the misadventures of a man who finds himself on an alien world. Even though the game looks a bit primordial now, the actual experience of playing it remains very visceral — there are no directions, no heads-up displays, and no dialogue, just strange unearthly sounds and a seemingly infinite number of ways to die. 
