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Playstation's VR Gun Is a Deeply Satisfying New Way to Slaughter Aliens. I played a lot of make- believe as a child. I’d take my dad’s spare gun holster and draw guns made of air from it, or steal my sister’s cape, emblazoned with an S for her first name, and fly around like Superman. But you reach a point where making pew pew noises becomes gauche.

So as an adult, if you want to play make believe without getting committed, you’ll need something like Playstation VR’s Aim Controller. What is it? A controller for playing shooting games in VR. Like. It makes any shooter game instantly more fun. No Like. It is super, super niche. The Aim Controller is a gun- like device intended for use with the PSVR headset. So far only a handful of titles have announced compatibility.

Movies The latest movie news, casting updates and rumors, trailer sneak peeks, and expert reviews on MTV.

Most prominently, the controller works with Farpoint, a first person shooter that sets you on a distant alien planet full of bugs. The game itself is.. The graphics are nice, and the VR is suitably immersive, but you have to move around the game by “walking” using the joystick on the Aim Controller, and the sensation of dashing across an alien landscape while your physical body is not in motion will make many people nauseous.

The only reason I managed to power through the game is because of the Aim Controller. This thing is a major step up from Duck Hunt (or that crappy Sega Genesis Terminator 2 game). It’s got enough weight to it that you never forget you’re holding it, and the trigger has a nice snap that makes it fun to squeeze, whether the gun in the game is an assault rifle, pistol, or even a shotgun. The Aim Controller doesn’t really resemble a gun. Instead it’s a parallelogram, with a trigger on an inside corner and a big glowing bulb (so your Playstation Camera can track its movements) on the opposite outside corner. There’s a joystick, for movement, and all the other Playstation controller buttons, repositioned so you rarely have to adjust your grip while playing. It looks dorky, which is fine as you’ll be using it with a VR headset, and dorkiness and VR is more or less a given.

As soon as you slip the headset on, the gun becomes a pistol you’re firing with one hand, or a rifle you’re holding in two. You can hold the gun up and peer down the sights before squeezing off a few rounds off into alien spiders.

It is deeply, deeply satisfying. Up there next to shooting skeet in a field or pinging friends with paintballs. I kind of love the thing, but, you know, there’s one big problem with the PSVR Aim Controller. There’s only five games that currently work with it, including Farpoint, and all five require the VR headset—as Sony has announced no plans for the Aim Controller to work with non- VR games.

So to have some sweet, and safe, gunplay action in your living room you need to drop $3. Playstation 4, $5. VR kit, and then another $8. Farpoint bundle. That’s $8.

VR! It’s a lot of money, and you should not spend all that money just for Farpoint. But if you’ve already spent money on a PS4 and a PSVR system then the $8. Aim Controller bundle is a no brainer. This thing is one of the big reasons people say VR is great for gaming. It’s immersive, and more importantly, is really damn fun.

So much of VR is about proof of concept virtual reality experiences. The Aim Controller is the first component in modern VR that has me wanting to do what VR is supposed to do best—play some video games. READMEFarpoint is not a good game, but killing alien spiders is a lot of fun. The Aim Controller is solidly built, pairs quickly, and has all the buttons needed for controlling your Playstation.

Yet it is an accessory. Don’t buy it unless you have a PS VR setup ready. Give me a super realistic hunting game and some target practice games, and I might never stop using this thing.

Recent Scifi Films That Didn't Need Big Budgets To Be Amazing. Low- budget scifi movies may have had their heyday during Roger Corman’s rise to B- movie greatness in the 1. Here are our favorites from the past few decades. Another Earth (2. Watch Online Watch The Black Water Vampire Full Movie Online Film.

Director Mike Cahill (I Origins) and star Brit Marling (The Sound of My Voice, Netflix’s The OA) co- wrote this tale of guilt, grief, and cosmic second chances. Marling plays a brilliant woman named Rhoda who makes a terrible, tragic mistake: causing a car accident that kills a woman and her unborn child, leaving the woman’s husband, John (William Mapother), physically and mentally devastated. Rhoda makes another terrible mistake when she first tries to set things right, seeking out John but failing to tell him who she really is. But possible redemption comes from an unlikely place: the “mirror Earth” that looms above—represented by a very simple but effective visual effect—where the people and places are identical to those on our planet, with the key difference being that certain crappy life decisions may never have transpired. John Dies at the End (2. This cult horror- scifi comedy from Don Coscarelli (Bubba Ho- Tep, Phantasm) features quite a few outrageous special effects, as well as a cameo from Paul Giamatti, but it was still made for less than a million bucks.

Based on David Wong’s novel, it’s about a pair of buddies who experience increasingly bizarre hallucinations and circumstances (alternate dimensions, aliens, etc.) when they encounter a new street drug that’s nicknamed “Soy Sauce.” Eventually, the fate of the world hangs in the balance—and along the way, there’s also an evil supercomputer, a heroic dog, and a monster that cobbles itself together from a freezer full of meat. Computer Chess (2. Watch Imagine That Online Hollywoodreporter. Filmed in black- and- white using period- appropriate video cameras, writer- director Andrew Bujalski’s offbeat and intricate study of a computer chess tournament is set in 1. It was actually made in 2. Authentic nerds (not Hollywood nerds) converge on a bland hotel to determine whose program will achieve chess supremacy, though the backstage dramas and micro- dramas outside the competition provide most of the real interest. Though Computer Chess is mostly an awkward comedy, it ventures into scifi when it begins to suggest that one team’s artificial intelligence software is way, way more self- aware than most anyone realizes or is willing to admit.

The American Astronaut (2. Another black- and- white entry, The American Astronaut manages to meld the genres of scifi, Western, and musical. Writer- director Cory Mc.

Abee, who once described his work as “Buck Rogers meets Roy Rogers,” also plays the title character—an intergalactic cowboy/rare- goods dealer who becomes entangled in a scheme to deliver a man to the all- female planet of Venus (but it gets way more complicated than that)—and his band, the Billy Nayer Show, provided the tunes. Unsurprisingly, the end result is something completely unique, enhanced by the film’s use of hand- painted, lo- fi special effects in most cases.

Monsters (2. 01. 0)Before Gareth Edwards did Godzilla—and then achieved his lifelong dream of making a Star Wars movie with Rogue One—he worked as a digital effects artist and applied those skills to his first feature, Monsters. As the title suggests, it’s a monster movie, but it’s uniquely set in a world where humans and aliens have been co- existing on Earth for a number of years, and while the tension and fear may not have deflated, the novelty has. Strangers (real- life couple Scoot Mc. Nairy and Whitney Able) team up to re- enter the US from Mexico, but the trip is complicated by a border that has become exponentially more hostile. Edwards, who also wrote the film, did the cinematography, and did the production design, makes the most of a budget that’s just a tiny fraction of what he’d get for his future blockbusters. Robot & Frank (2.

Lonely, technology- averse, and intermittently forgetful retiree Frank acquires a companion robot from his well- meaning son, and soon realizes his new sidekick would be the perfect partner in crime, literally. Robot & Frank is a poignant study of aging, but it also does an incredible job making a robot character (and it is a real, developed character) believably blend into its otherwise fairly typical indie- film landscape. A winning cast (most prominently Frank Langella as Frank and Peter Sarsgaard as the voice of the robot, though a different actor actually wears the suit) further elevates this inspired effort from first- time director Jake Schreier and first- time screenwriter Christopher D. Ford. 8. Sleep Dealer (2. In Alex Rivera’s thriller, it’s a future in which illegal immigration between Mexico and the US has been completely outlawed (thanks to a border wall..). However, since the US economy would collapse without a steady stream of people willing to work for nothing, would- be prospective citizens toil in grim factories where they’re physically plugged into virtual reality machines that control robots doing labor stateside. Within this uneasy mix, we meet a man who dreams of hacking into a massive corporation to restore water to his region; a woman who peddles uploaded memories; and a drone pilot who has a crisis of conscience.

Sleep Dealer is obviously a politically- minded tale that’s really about globalization, but it also manages to be completely thrilling at the same time. Moon (2. 00. 9)At the very end of a three- year solo stint on the Moon, the man overseeing an automated mining facility (Sam Rockwell)—who has only his AI (voiced by Kevin Spacey) for companionship—realizes he’s not as alone as he once thought. He also starts to suspect that his corporate employers are not as benevolent as he once believed.

Director Duncan Jones (Source Code, Warcraft) is working on another film set in the same universe as Moon, called Mute, which will also have scifi elements though it’ll be set on Earth this time; eventually, he hopes to do a third and make it a trilogy. The Signal (2. 01.

College kids on a road trip take a detour to track down their nemesis, a mysterious hacker who lures them to an alien encounter, after which they’re whisked to an apparent government facility that’s experimenting with alien technology. On humans. Including them. Aside from its imaginative plot, which keeps you guessing until the end (and even then leaves you with a great “Huh?” image), it’s production design that evokes 2. A Space Odyssey and supporting turns by Laurence Fishburne and Lin Shaye that make The Signal especially memorable.

Safety Not Guaranteed (2. Following in the footsteps of Gareth Edwards, director Colin Trevorrow made his feature debut with this budgeted- under- a- million indie before taking on Jurassic World and Star Wars: Episode IX. An intriguing magazine ad seeking a time travel companion (“this is not a joke”) piques the interest of a trio of Seattle journalists (Aubrey Plaza, Jake Johnson, and Karan Soni), who track down the man (Mark Duplass) to see if he’s a nutcase or the real deal—or, as it turns out, kinda both. The script (by Derek Connolly) was inspired by a real (but fake) ad that once ran in Backwoods Home Magazine, a fact which helps ground the film’s quirkiness—as do its performances (Plaza is perfect) and its portrayal of time travel as something ordinary people might explore for their own deeply personal reasons. And yes, there are Star Wars jokes. The One I Love (2. Yep, another one with Mark Duplass.

Charlie Mc. Dowell’s debut feature—filmed mostly at co- star Ted Danson’s house—is about Ethan and Sophie (Duplass and Elisabeth Moss), a married couple who try to salvage their relationship by going on a weekend getaway. Things soon get very, very surreal when it becomes apparent that everything is not what it seems, especially not Ethan and Sophie, who become entangled in their very unconventional therapy session.