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You just never know what to expect when Nicolas Cage leads a movie these days. We’ve seen so many cheap, off-kilter turns from Cage that when we get something like Mandy, we all have to stop and say “wait, he’s still got it?” Well, now that Color Out of Space is here, time to stop and say it again: he’s still got it. Director Richard Stanley’s adaptation of H.P. Lovecraft’s short story is a tense, gorgeous, darkly funny nightmare, anchored by a roller coaster of a Nicolas Cage performance.

The film brings Lovecraft’s short story into the modern-day and follows the Gardner family, living on a secluded farm in the fictional Arkham County, Massachusetts. Nathan (Nicolas Cage) has moved the family there to focus on his wife Theresa’s (Joely Richardson) recovery from breast cancer. Before long, a purplish alien meteorite crashes into their yard, and the psychic shockwaves it sends through the house are just the beginning of a slow descent into madness for the Gardner family. The Color, the disembodied force that escapes this meteorite and plagues the Gardners, proves to be an effective and malleable threat, and director Richard Stanley never runs out of new ways of using it to disturb and shock. The bounds of the Color’s power and influence are intentionally left vague, so the only real gauge of what it’s capable of is the deterioration of the Gardners. Sure, it starts with standard horror red flags, like phone calls from no one and youngest kid Jack (Julian Hilliard) ominously drawing scary monsters, but the Color proves to be much more adept at taking over its new home, warping time and enticing the Gardners to make increasingly dangerous choices in service of its purpose.

As a genre, cosmic horror (Lovecraft’s jam) generally calls for a lack of comprehension of the antagonists’ origins and motives. Stanley took that to heart, as the Color feels oppressive and dangerous thanks to the fact that we never end up learning too much about it. For such a destructive force, the Color is also beautiful, terraforming the area into a fantasyscape and tinting many scenes in a dreamy wash of pinks and purples. Color Out of Space seldom disappoints on the visual front, from the heights of the Color’s interdimensional tomfoolery all the way down to the way lights cut through the mist on the Gardner farm. Much of the film has a surreal quality, with a fantasy-tinged score and drawn out moments of quiet that feed into a permeating unease as things proceed.

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Color Out of Space walks an impressive tonal tightrope, deftly drifting between moments of real tension and a bizarre sense of humor that persists even through some of the film’s scarier moments. The film does occasionally stumble on that score, as there are a few times where characters say something off-kilter at a strange time to get an uncomfortable laugh, but for an adaptation of a Lovecraft story not known for its chuckles, the comedic beats are remarkably solid. Of course, if you’re telling a story that vacillates between raw horror and madcap mania, there’s only one person to call. Nicolas Cage’s hyper-energetic and over-the-top turn as Nathan Gardner is the standard-bearer for Color Out of Space’s weird tone, and it’s rare these days to see him fit into a story this well.

Oftentimes, when Cage turns the ol’ dial up to 11, he’s doing it in a movie where everything around him is markedly calmer. But here, at a farm with glowing wells and mutated animals, he’s got a lot of competition in the crazy department, and it’s a competition he tries his damndest to win. Sure, he starts off as a normal human, but as soon as the Color gives him an excuse, Cage is off to the races. Whether it’s a bizarre TV interview with a local reporter, a full volume solo meltdown in the front seat of a car, or his absolutely hilarious obsession with his alpaca scheme (yes, alpaca scheme) in the face of clearly more important matters, Color Out of Space adds plenty to the pantheon of weird Nicolas Cage moments.

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But with how little the rest of the world seems to make sense after that meteorite comes down, weirdly, Cage’s lunacy feels right at home. A wacky Nic Cage performance is fine on its own, but what makes it doubly appreciated here is how it actively services Color Out of Space, adding to the constant unpredictability of the story’s turns. Richard Stanley knew exactly what he was doing putting Cage in the lead, and by channeling his energy into how the story unfolds, Stanley creates an atmosphere where nothing seems safe or reliable. That sense of dread is Color Out of Space’s heartbeat and it’s steady throughout. The other performers also benefit from the tone Cage’s performance sets, with Joely Richardson and Madeleine Arthur, in particular, getting the opportunity to lean into their gruesome moments with a similar kind of abandon. Richardson especially gets to have fun with some prosthetic-related gags, with one truly horrifying sequence of body horror coming late in the film.

Color Out of Space is less successful when it strays away from the Gardner farm. Hydrologist Ward Phillips (Elliot Knight) stumbles onto some of the effects of the Color and checks in on the Gardners now and again, but as the family disintegrates, Ward’s action takes place mostly back in the city. When things really hit the fan, his theories and attempts to involve the police are distracting, especially as we know just how pointless his efforts are in the face of the Color’s awesome power. Color Out of Space burns slowly to begin with and the aimless B-story never quite makes the case for its own inclusion.

It won’t be long before a new Ghostbusters movie arrives in theaters. And unlike 2016’s reboot, the new entry–Ghostbusters: Afterlife–is connected to the original franchise. While it hasn’t explicitly been revealed exactly how it will embrace the first two films, we’ve learned some new details from original cast member Bill Murray.

Speaking to Vanity Fair, Murray not only confirmed he will reprise his role as Peter Venkman in the film–alongside his fellow surviving Ghostbusters Dan Aykroyd and Ernie Hudson–but gave some details about the movie’s story. “Well, we are a man down. That’s the deal,” he explained. “And that’s the story that we’re telling, that’s the story they’ve written.”

That man down is obviously Harold Ramis, who portrayed Egon Spengler in the first two films. Ramis passed away in 2014, leaving the Ghostbusters without its scientific genius. While it hasn’t been confirmed, fans have speculated that the family introduced in the new film will be Egon’s next of kin.

The Leftovers alum Carrie Coon plays a single mom named Callie, while Stranger Things star Finn Wolfhard and Captain Marvel standout McKenna Grace play her kids Trevor and Phoebe. In images seen in the Vanity Fair story, Grace can be seen with one of the Ghostbusters’ trademark proton packs strapped to her back.

After the family moves to an old farmhouse in Oklahoma, strange occurrences start happening. As Vanity Fair reveals, an old mine outside of town bears the name Ivo Shandor, which is a connection to the original film and the 2009 video game. In 1984’s Ghostbusters, Shandor is mentioned as the designer of the building Gozer rises from. In the game, Shandor serves as the primary villain and leader of the Cult of Gozer. While there’s no confirmation, it sure does sound like Gozer will figure into the new movie.

At the core, though, Murray says it’s not the ghosts or callbacks to previous films that will make Afterlife stand out. “The script is good. It’s got lots of emotion in it. It’s got lots of family in it, with through lines that are really interesting,” he said.

As for Jason Reitman, son of original film director Ivan Reitman and co-writer and director of Afterlife, he wanted to make a movie that appealed to Ghostbusters fans, old and new. “I wanted to make a movie about finding a proton pack in an old barn and the thrill of actually putting it on for the first time,” he explained.

With a new cast, as well as the returns of Murray, Aykroyd, Hudson, Sigourney Weaver, and Annie Potts to the roles they made famous, he might just pull it off.

Ghostbusters: Afterlife is in theaters on July 10.

Respawn has revealed the first official details for Apex Legends Season 4. Called Assimilation, Season 4 will add new character Forge (not the rumored Revenant), new weapon Sentinel (not the rumored Volt), and new map changes to World’s Edge. You won’t just be playing on World’s Edge during Season 4 though; Apex Legends’ original map, Kings Canyon, makes a return.

That said, the map isn’t coming back as we expected. During Assimilation, Apex Legends Ranked Mode is being reworked so that it’s now split into two separate series. The first series will begin with the new season and continue through to March 23. The second series picks up on March 24 and continues until the end of Season 4, May 5.

Like in Season 3: Meltdown, you’ll see your rank knocked down two notches at the start of Assimilation, and your ranking will similarly reset halfway through the season when the second series begins–allowing you to earn two different rankings. Your end-of-season rewards will be based on whichever series you rank higher in. So if you reach Diamond IV in series one but only Platinum I in series two, for example, you’ll be awarded Diamond-tier items at the end of Assimilation.

So how does this relate to Kings Canyon? Well, the first series of Assimilation will take place on World’s Edge, while the second will see you play on Kings Canyon. So Kings Canyon is coming back to Apex Legends in Season 4, just not until March 24.

Kings Canyon was the only map in Apex Legends during Season 1: Wild Frontier and Season 2: Battle Charge, only to be completely replaced by World’s Edge at the start of Meltdown. The map has made reappearances in certain limited-time events during Season 3–specifically, Fight or Fright and Grand Soirée Arcade–though its return in Assimilation will be the first time the map has been in the game for longer than a few weeks since its removal. When the map was removed, Respawn explained that Kings Canyon was taken out because the developer was worried that most players would gravitate to the original map without trying the new one if both were available at the same time.

Kojima Productions could expand beyond big budget video game projects, according to a new interview with Famitsu.

The interview with Hideo Kojima and artist Yoji Shinkawa was translated by Dualshockers (via GameSpot), and Kojima said he’s interested in developing smaller video game titles. This could allegedly include episodic games or digital-only projects. However, he added that these small projects would not replace the studio’s desire to work on big games like Death Stranding.

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Apart from video games, the studio could branch out to manga and anime. Kojima and Shinkawa both said they’d like to work on a project using Shinkawa’s mecha designs. Shinkawa said working on a manga would be nice because he likes to be able to touch his work directly.

Finally, Kojima added that he’d still like to make movies, which matches an interview from last year when Kojima said, “In the future Kojima Productions will start making films. If you can do one thing well, then you can do everything well.”

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Death Stranding was IGN’s winner for the Best PS4 Exclusive of 2019. The Kojima Productions title also won Best Game Direction at The Game Awards 2019. Kojima says he’s considering developing a sequel to Death Stranding, but that the game would “start from zero.”

For more, read about when Death Stranding is coming to PC, or read our official Death Stranding review.

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Logan Plant is a news writer for IGN, and the Production Assistant for Nintendo Voice Chat, IGN’s weekly Nintendo show. You can find him on Twitter at @LoganJPlant.

Apex Legends Season 4 has been revealed to be called Assimilation, and Respawn has confirmed our suspicions that it will begin on February 4. Respawn has also provided the first official look at the new playable character coming in Assimilation. It’s not Revenant, as many speculated and Fight or Fright’s Shadowfall seemed to suggest; it’s Forge.

Respawn didn’t provide many details about the new character but did provide a screenshot, which is embedded below.

This story is developing.