Barry Sonnenfeld's 1999 comedy-action film Wild Wild West has certainly seen its fair share of negativity over the years. Panned by critics and a flop at the box office, the film has an approval rating of just 17% on Rotten Tomatoes. To add to that list of woes, Will Smith recently stated in an interview that he believes it's his worst film to date.

During a recent episode of GQ's Actually Me, the actor spoke briefly about what he considers to be the best and worst films of his distinguished career. "Worst [movie]? I don't know, Wild Wild West just is a thorn in my side," said Smith. "To see myself with chaps, I don't like it."

Smith starred in Wild Wild West alongside Kevin Kline. The pair portrayed US Secret Service agents tasked with protecting President Ulysses S. Grant from the diabolical schemes of Dr. Arliss Loveless (Kenneth Branagh) and his enormous steam-powered spider tank. Smith's recent interview with GQ isn't the first time that the actor has brought up his gripes with Wild Wild West.

As reported by THR, Smith previously described promoting the film as an indication that he'd lost sight of his values. “I had so much success that I started to taste global blood and my focus shifted from my artistry to winning. I wanted to win and be the biggest movie star, and what happened was there was a lag — around Wild Wild West time — I found myself promoting something because I wanted to win versus promoting something because I believed in it," said Smith during a Cannes Lions session in 2016.

As for what the actor considers his best movie, there's no single frontrunner. “For the best, I think it's a tie between the first Men in Black and The Pursuit of Happyness,” Smith said. “For different reasons, those are the two almost perfect movies.”

Men in Black was released in 1997 and while also being directed by Sonnenfeld, it has a far higher Rotten Tomatoes rating of 92%. The Pursuit of Happiness on the other hand, while starkly different to Men in Black, earned Smith an Oscar nomination for Best Actor in 2007.

Smith's major breakthrough as a household name in the industry came during his time on The Fresh Prince of Bel-Air. Earlier this year, it was announced that the show would be getting a reboot. Since then, a number of cast members have been named for the revival, including actor Jabari Banks, who will play the show's lead, Will. Following the announcement of Banks' inclusion in the show, Smith himself personally congratulated the actor.

Jared Moore is a freelance writer for IGN. You can follow him on Twitter.

Nintendo has announced that its next Animal Crossing: New Horizons Direct broadcast will air on Friday, October 15 at 7am Pacific / 10am Eastern / 3pm UK (that's October 16 at 1am AEDT).

The broadcast will be roughly 20 minutes long, and focuses on an upcoming November update for the game. That update is expected to introduce the long-awaited, fan-favourite Brewster and a coffee shop addition to the game's museum. Incidentally, Brewster's canonical birthday is on October 15.

[Announcement]
The #AnimalCrossing: New Horizons Direct will air on Oct. 15 at 7am PT! Tune in for roughly 20 minutes of information about the content coming to Animal Crossing: New Horizons in November. #ACNH pic.twitter.com/gc7rfFoxpk

— Isabelle (@animalcrossing) October 6, 2021

We previously saw a teaser trailer for the update, but it gave very little away. However, a datamine of the game's 1.11 patch implies that players will have to build the cafe into the museum before accessing it, and that NPCs will be referencing it once it's in.

Needless to say, the community around Animal Crossing is very excited. The Roost cafe manager, Brewster, first made his appearance in Animal Crossing Wild World and has been a fan favourite within the Animal Crossing community ever since. While Animal Crossing: New Leaf made The Roost its own building, it's usually been found attached to Blathers' museum. It seems that's set to continue. We'll have all the details for you after the show airs next week.

Joe Skrebels is IGN's Executive Editor of News. Follow him on Twitter. Have a tip for us? Want to discuss a possible story? Please send an email to [email protected].

In 2021, Nintendo announced the latest iteration of its hybrid gaming console in the form of the $350 Nintendo Switch OLED model. Despite all of the things this hardware refresh does right, most notably the slightly bigger and much better-looking display, the unchanged internal specs and lack of significant improvements to the dock have left me ambivalent after spending a week using it. The excellent new screen certainly makes this the best Switch for anyone who doesn’t already have one, but the relatively slim list of upgrades for those who do also has me wondering why some of these design revisions weren’t rolled out with the 2019 model.

The Switch OLED features a larger 7-inch 720p OLED display, making it slightly bigger than the base Switch’s 6.2-inch screen, but thanks to the smaller bezels (the black frame around the screen) it’s nearly the same physical dimensions as the previous Switch – it’s 242mm long, as compared to the original’s 239mm. The Switch OLED also beefs up the storage, doubling it from the original Switch’s tiny 32GB to… a still pretty small 64GB. Of course, we have the same option to expand it with a MicroSD card (the slot for which has been shifted slightly).

The crown jewel of the Switch OLED is, of course, the quality of the display itself. The OLED display is a significant change to the original Switch and vastly improves playing in handheld mode. As disappointed as I was to hear that Nintendo decided to keep a 720p resolution in handheld mode for this revision, it’s still a major step up in not only how good games look, but where they look good.

Specifically, the Switch OLED makes it a lot easier to play games in direct sunlight. No longer must we seek out dark corners to play in, or shield the screen while playing in the backseat of a car or on a plane! While not as bright as, say, the display on my new iPhone 13 Pro when at maximum brightness, I can now more comfortably bring my Switch outside with me and play a few hours while kicking back on my hammock. The display hits a sweet spot that makes it more of an incentive to take it with me wherever I go, making the Switch feel more mobile than ever and living up to the “play anywhere” promise.

As someone who mostly plays my launch model Switch docked, this made a massive difference for me right away. After playing just a couple of games I felt spoiled by the additional screen real estate, and it was harder to go back to my 2017 Switch. On top of everything else, the slightly bigger display also makes the on-screen text a little bigger; that may not be a massive difference to most people, but when doing a side-by-side comparison with the original Switch it is clear as day.

The Switch OLED doesn’t just look better – it feels better, too. From the display’s glass screen to the revised kickstand, it does not feel cheaply made in any sense. The Joy-Cons also feel more securely attached than on my original Switch model, where they’ve always felt a little bit loose, especially at the bottom.

One catch is that, due to its extra three millimeters in length, some of your original Switch’s accessories may have compatibility issues. While any Joy-Cons will fit the Switch OLED – including third-party controllers like the Hori Split Pad Pro – some controller grips, third-party docks/mounts, and cases may not fit; I would not recommend forcing the OLED into any of these things to make it work.

Spending roughly a week with the Switch OLED, primarily in handheld mode, I could easily tell that the screen made games a lot more vibrant. At peak brightness, the OLED really pulls me in on the action and, more importantly, it just makes games look more colorful. Tracks like Rainbow Road in Mario Kart 8 Deluxe look a lot brighter and more vivid. By comparison, when I went back to playing on my original Switch the same course looked colorful but dim, even when adjusting the brightness and disabling auto-brightness. I also found that colorful, cartoony games like New Pokemon Snap and WarioWare: Get it Together! really shine on the new screen.

Even the darker and grimmer Metroid Dread benefits a lot from the OLED display. There are some sections that have darker blacks and subtly gray areas, particularly in the sections where an EMMI is patrolling, and the OLED’s ability to display absolute black made those areas eerier and creepier. And then there’s Samus Aran herself, whose white and bright blue power suit stands in stark contrast to the environment around her.

The Nintendo Switch OLED also adds a new feature not found in the original Switch or Switch Lite, called Console-Screen Colors. It’s enabled by default but is toggleable in the settings menu and has two options: the default Vivid and a reduced Standard option. While I thought at first the Standard mode would revert the console’s brightness and colors to look more like the original Switch, that is not the case. Instead, Console-Screen Colors serve one purpose: to increase the level of brightness and color saturation, particularly in lighter colors. So games like Animal Crossing: New Horizons look noticeably brighter, with bright-colored items and clothes given a lot more color, and they feel like they must be truer to the color scheme its creators intended it to display.

However, Console-Screen Colors does bring up one issue I have with the OLED model: the feature only changes how colors are displayed on the Switch OLED itself – meaning it won’t impact docked mode, even if you’re playing on an OLED TV. Still, this almost-hidden feature really does make the OLED the best way to experience handheld Switch games to date.

Unfortunately, there’s a reason that Console-Screen Colors is a togglable setting rather than something you’d leave on all of the time. All the additional vibrancy it brings can occasionally go too far, causing some games to have oversaturated colors. I found this to be an issue in games that were already pushing saturation to the limits, like Super Smash Bros. Ultimate. I saw a few instances where some oversaturation of color made slight differences to the saturation of backgrounds, particularly in the opening title screen. It’s not to the point of obviousness, but it was definitely noticeable when flicking the Console-Screen Colors option on and off.

It can be annoyingly inconsistent, even within the same game. The Legend of Zelda: Breath of the Wild, for instance, looks great in some areas with vivid colors enabled, but when I was roaming the open world, the color of the cel-shaded grass felt a bit oversaturated. It is a case-by-case thing for sure, but it can be distracting.

All that said, I could not help but feel – at least in the case of the OLED display – some real “this should have been here since 2017” energy. The fact that the PlayStation Vita, a handheld released back in 2012, had an OLED display (albeit a smaller one than the Switch OLED) makes me wonder if an OLED display was up for consideration in the original Switch. It definitely would’ve been more expensive, but Nintendo doesn’t seem to have a problem with charging $350 in 2021. (Granted, that’s easier for it to have the confidence to do now that the Switch is its best-selling console since the Wii).

OLED display aside, the latest Switch refresh makes some other smaller, yet appreciated improvements to the overall design. The speakers on the Switch OLED are slightly bigger, but to be honest I did not find the slightly clearer and louder sound quality to be that big of a difference for the most part – not something I’d have noticed if I weren’t doing side-by-side testing.

Battery life remains mostly the same, as noted on Nintendo’s website. Though some games I tested, like Breath of the Wild, did last a few minutes longer than the 5.5 hours Nintendo estimated, other games, like Super Smash Bros. Ultimate, were closer to the 5-hour mark (an improvement over the 2019 Switch, which gave out at 4 hours and 50 minutes). Again, from what I could find, the battery life improvements are modest and mostly just a few extra minutes.

The Switch OLED has the same 3.5mm audio jack on the right side of the console, as well as the long-awaited Bluetooth audio feature (which is now enabled on all Switch models through a software update). I was able to seamlessly connect my Apple AirPods, though your Bluetooth performance and mileage may vary depending on the wireless headphones or earbuds you are using.

Outside of the display, my favorite improvement to the Switch OLED is easily the new kickstand. Taking some cues from Microsoft’s Surface Pro line, the Switch OLED kickstand is a lot firmer and more flexible, offering more angles at which you can set the Switch up without risking it falling flat if you bump the table. Its increased width means any worries or anxiety over breaking the kickstand are gone in the OLED model, which makes it a lot easier to play multiplayer games like Super Mario Party in tabletop mode.

Most of the improvements for the Switch OLED are on the handheld side of things, but there are some minor changes for those who prefer playing the Switch on a TV, including a revised dock. Aside from coming in a new white color, the dock has curved corners and the inside includes a glossy black design. The new dock includes a bit more space than the original, which may help compensate for the issues the original docking station had with scratching the Switch’s display when placing it inside, though there is a tradeoff: the Switch now wobbles a bit while docked. Not to the point where you will risk disconnecting it from the TV, but I noticed it when comparing it to my old Switch dock, which has no wobble at all.

The revised Switch dock still has the two USB ports on the left side, but the back is a little different from the original in that it includes a detachable backplate instead of a back door with a hinge, and the backplate also includes a bigger outline for cables than the old dock. I found the material on the revised dock’s backplate to feel a little cheaper than the original, and I miss the hinge that attaches the backplate to the Switch dock.

The revised dock also ditches the third USB port in favor of a LAN port, a welcome addition through which you can connect directly to a Wi-Fi extender or router via an Ethernet cable. I have a pretty solid internet connection and speeds, but that connection is only as strong as the weakest link in the chain that connects to the internet. For the original Switch dock, the only way to do that out of the box (without buying an adapter) was over Wi-Fi, which is generally not going to be nearly as fast as a wired connection. Games like Cuphead and Sonic Mania would take about 40-50 minutes to download on my Wi-Fi connection, but over LAN they take roughly 15-30 minutes.

The LAN port also vastly improves stability in games that have online functionality. I’ve always had lag when playing online for Super Smash Bros. Ultimate, Mario Tennis Aces, and Splatoon 2 on my launch Switch, but I noticed no lagging or internet issues on my end when connected to an Ethernet port. (Note that Nintendo will sell the new docking station separately at a later date, so you do not need to spend $350 for a whole new Switch if that’s all you want, though you’d be better off buying the $30 adapter if you’re not annoyed by a dongle hanging off your dock).

Metroid Dread first turned up in 2005 – it even got a name drop in a terminal in Metroid Prime 3: Corruption. In many ways, the re-announced, presumably reworked Metroid Dread of 2021 feels like that 2D-ish Metroid game we should have gotten 16 years ago, following two masterpiece Metroid games, Zero Mission and Prime. It’s not often we get to say this about a game that emerges from more than a decade of development purgatory, but the wait has been worth it: The epic delay allows Metroid Dread to use the Switch’s power to greatly improve on what could have been accomplished on previous Nintendo systems, and makes the supposed conclusion to Metroid’s mainline story something of a grand finale.

Everything works in handheld form, but you really have to dock the system to get the full 2D-style Metroid experience on your TV that we’ve been missing in the three decades since Super Metroid on the Super Nintendo (that said, Zero Mission looks pretty cool emulated on the Virtual Console). Playing on a big, HD screen reveals sprawling alien scenes in diorama-like backgrounds, lit by the dynamic glow of Samus’s arsenal and projectiles. Also thanks to the Switch, the action never seems to drop a frame. That’s important, since combat is lightning fast, and just keeps getting faster with each powerup. Everything seems to speed up as you move through Metroid Dread. Upgrades add to your movement, and reduce backtracking time with boosts, dashes, and jumps, all while you’re making incredibly short work of once-powerful enemies with your new arsenal.

One issue I had with the last Metroid, the 3DS remake of Samus Returns, was the cramped controls of the 3DS hindering the action – especially the new, twitchy combat. That combat makes a return in Dread, but here on the Switch it’s much more comfortable – and more fun. The counter system from Samus Returns, which requires careful timing to react to enemies visibly foreshadowing their attacks, is just one of many moves including dashes, feints, dodges, and timed-charge attacks that make up your bag of tricks, and that can take up a lot of buttons. It’s not bad on the Switch in handheld mode, but Dread only really shines with the Pro Controller. If I had to beat a boss – and these are some of the toughest bosses in Metroid history – I docked every time.

Those boss fights range from the traditional big, drooling monsters with patterns and weak points to learn, to almost Smash Bros.-esque encounters with enemies that mimic your move set. The variation is welcome, especially in contrast to the way Samus Returns pitted you against the same boss bugs many times over. I don’t want to give anything away, but these are some of the best boss fights I’ve ever played in an action platformer: Without exception,they seemed impossible at first, but post-victory, I felt like they’d made me a better player.

One repeated encounter you’ll have is with the creepy, crawling EMMI bots which you might have seen a lot of in previews of Metroid Dread. These are less what you’d think of as boss fights and more akin to stealth missions (and sometimes a manic race to the finish line if you are spotted). The EMMI pursuing you transform entire regions of the map into one-hit-kill zones (you do have a small window of escape, but it’s vanishingly small) – which makes another new-to-Metroid feature of Dread, auto saving, which triggers just outside the EMMI zones, extremely welcome.

One aspect of boss fights that I’m not too keen on, however, is the use of counters as quick-time events: Timed button-pressing sequences that you must complete to transition to another stage of a boss fight. It is often impossible to discern whether you even need to be shooting a boss while you await its next counter-able move. I would like to be able to use my 200-some stock of missiles to just destroy a boss the old-fashioned way; what am I collecting all those missile tanks for if I can’t even barrage a boss with overwhelming firepower once in a while?

Speaking of collectibles, the many ways missile tanks and other upgrades are hidden is exquisite. There are some truly inscrutable puzzles that left me pondering between play sessions, and going for a 100% run is a great way to experience the intricate way the world is put together. The Speed Booster and Shinespark moves are especially conducive to mind-bending puzzles and require incredibly precise, split-second platforming that’s both fun to figure out and gratifying to (finally) pull off. By employing some classic Metroid moves, like bomb jumping, I was even able to “sequence break” and get some upgrades I couldn’t even use yet, which made me feel like a badass. That kind of flexibility and freedom made the world feel that much more welcoming to exploration and experimentation.

If you aren’t a completionist, you can choose to shoot through Metroid Dread in a shorter burst. According to the game log, I spent 11 hours on my first run, reaching 82% completion – but that figure clearly excludes pause screens, which you might spend a lot of time on because the map itself has been overhauled and tracks mysterious things you can’t interact with, items you saw but didn’t obtain, and rooms with a secret you didn’t even spot. I pored over the map screen frequently to discover secrets, but also to discover my next step. I suspect that many will turn to a strategy guide for the latter, since Metroid Dread does very little to direct you to your next objective. As a general opponent of hand-holdy waypoints, I like this change – especially in a game that emphasizes probing every block. In addition to the tricked-out map, you also get a scanning tool that’s balanced just the right way to give you clues to secret paths but doesn’t lead you around by the armcannon.

The map, and really the world itself, morphs a few times, too – especially in the later game. I won’t spoil any late-game tricks for you, but while they aren’t quite to the scale of Castlevania: Symphony of the Night’s upside-down castle, the new routes you’ll have to work out and the enemy obstacles you’ll encounter are all quite cool.

I’m not sure I needed another length of game added onto the end of this, anyway. As my fellow editor Kat Bailey put it, Samus Returns overstayed its welcome – and it was stretched a bit thin by the end, with repetitive bosses and a map that took a while to make your way across. Dread learns from that mistake and gets the pacing right, ramping up the speed at which you get new tools and access new map areas to something of a fever pitch. It’s up to you to pick a point, take a breath, and backtrack if you’d like. Otherwise, you can power on through to the end. (You will absolutely want to bring as many ammo and life upgrades with you as possible, though – again, these bosses are no joke!).

One point at which Metroid Dread slows down a bit too much, though, are thinly veiled load screens between areas – elevators, trams, and teleporters. These hard transitions break up the world more than in previous games, which is one spot where the Switch’s 2016 hardware catches up with Dread’s ambition.

Earlier this year there was a bit of ballyhoo around this being the final chapter of at least one Metroid storyline, and whatever you are thinking that means, it’s crazier. Unlike the Prime series and other spinoffs, this is a “mainline” Metroid game – the fifth since 1986’s Metroid – and though the story is sparse (probably for the best after some hammy diversions like Metroid: Other M), it supposedly wraps up here. Despite the twistier elements of the plot, there is one series-peak moment when Samus does something completely unexpected. It’s subtle, and it’s lovely, and I can’t wait for fans to experience it. That subtlety extends to much of the story, as well. There isn’t a lot to it: A bounty hunter, a bunch of innocent but very hungry aliens, and of course a new reason for how you lost all your great weapons and equipment.

I found it refreshing that, where games like Other M went way too far building out the world of Metroid and ended up with some pretty awkward results, Dread shuts that world out and focuses. Instead, Dread is grounded in a story about Samus and the vanished birdlike alien race that raised her, the Chozo. It’s an approach that reminds me of series greats, Metroid Prime and Zero Mission. And those Chozo? They sure built a lot of subterranean tunnels for a race equipped with wings, but we can let that slide.

As part of Batman day, DC Comics announced a new original series on Webtoon called Batman: Wayne Family Adventures. This comedic series focused on the day-to-day lives of the extended Wayne family.

Now, Webtoon has announced an official live-action adaptation from the filmmakers at Ismahawk.

This short series will premiere exclusively on Ismahawk’s YouTube channel and will serve as an official live-action version of Webtoon and DC’s record-breaking Batman comic. The three-part miniseries will premiere mid-October and you can check out the full cast below.

Here are the Wayne family members that will appear in the live-action shorts.

• Jonathan Bentley as Bruce Wayne
• Yoshi Sudarso as Dick Grayson/Nightwing
• Lisa Foiles as Barbara Gordon/Oracle
• Tim Neff as Jason Todd/Red Hood
• Peter Sudarso as Tim Drake/Red Robin
• Meghan Camarena as Stephanie Brown/Spoiler
• Gemma Nguyen as Cassandra Cain/Orphan
• Carter Rockwood as Damien Wayne/Robin
• Du-Shaunt ‘Fik-Shun’ Stegall as Duke Thomas/Signal
• Marcus Weiss as Alfred Pennyworth

IGN also has exclusive behind-the-scenes photos and stills from Wayne Family Adventures you can check out in the gallery below.

Wayne Family Adventures focuses on members of Bruce Wayne’s adopted family in fun, comedic adventures. Whether that’s fighting over who gets the last piece of dessert or competing over the gym equipment.

The series has already broken readership records on Webtoon and can be read for free here.

As for other live-action, Batman projects in the works a new trailer for the highly-anticipated The Batman starring Robert Pattinson is set to premiere at this year’s DC Fandome.

Matt T.M. Kim is IGN's News Editor. You can reach him @lawoftd.