No Tears On The Field: Movie Review

Director Lisa Burd turns her lens on the national sport in this amiable albeit slightly undercooked documentary that showcases the heartland and delivers a masterclass in not only grassroots sport, but also homeland philosophy.

Ostensibly looking at a group of female rugby players from Southern and Clifton Rugby Clubs over a season as it unfolds in Taranaki, this genial piece takes a dive into the worlds of women players and their motivations for getting on the field in the first place.

But unlike most sports documentaries, which purposefully become underdog stories, this one follows a clutch of young hopefuls who charge onto the field for a variety of reasons and from a variety of backgrounds.

From one mother of three who was charmed into the game at the prospect of a free creche at the ground to the player who nearly lost her arms in a farm accident when she was younger, each has their own motivation for joining.

And while it’s fair to say that No Tears On The Field doesn’t exactly reveal any new insights into what it takes to play the game, the lack of parity for female rugby players in a male-dominated game, what it does do is shine the spotlight on the very heart and ethos of the sport in a field that’s become dominated by corporate players and big-time deals.

But what’s equally more moving about No Tears On The Field is the exploration of familial relationships. Whether it’s a father motivating and supporting a daughter in her rugby career or remembering a lost mother and being inspired by her, the film explores – and makes a solid case – for the sanctity of the heartland bond. (Time spent with players Kate Thomson, Maddison Davison, Mereana Anderson and Phoenix Fraser is well-utilised, and despite them being part of the backbone, each of them feels fully developed and human throughout.)

It’s here that Burd’s film is more effective, moving away from the usual cliches of life on the field and the competitive nature of sport in general. It’s here that the movie shines the light on the seldom hidden but often overlooked reality of rural life – that it’s the connections and community that invest in people and their dreams – and who celebrate their successes when they come.

But if you're looking for a deep insightful piece, this is not it, as it feels like a Country Calendar episode writ large, no matter how well-intentioned it is.

Pillion: Movie Review

Cast: Alexander Skarsgard, Harry Melling, Lesley Sharp

Director: Harry Lighton

There's an aching sadness which pervades Pillion's central BDSM romance.

In this drama, adapted from Box Hill: A Story of Low Self-Esteem by Adam Mars-Jones, Ray (True Blood's Skarsgard) strikes up a relationship with a quiet ordinary man named Colin (the brilliant Melling).

Colin is a traffic warden, doling out tickets to miscreants who overstay their parking and receiving nothing but abuse back for doing so. Then during his night gig as a singer in a barbershop quartet, he sees a skulking Ray, hiding in the corner. Bumping into each other at the bar, Ray gives Colin a card with a demand to meet him on Christmas Day.

As Colin acquiesces to the mystery ahead, he soon finds himself immersed in the 1970s UK gay biker scene, and part of a submissive in the Dom-Sub relationship. Initially reticent to be part of it, Colin soon gives himself over to the demands of the relationship, much to the horror of his mother Peggy, who believes Ray is a creep because he won't come round for Sunday lunch.

To say more about Pillion is to deprive it of its rhythms. 

There are no seismic revelations here - aside from one sequence at the end, which is utterly tragic - and both Skarsgard and Melling make for committed partners in this piece, which provides different challenges for each. The naivety that Melling plays Colin with makes him an endearing and relatable character, no matter what kind of relationship he's actually in.

And while Skarsgard has the harder part as the silent and dominant one, he makes his Ray an understandable character whose needs are squarely based on what his views of this relationship should be.

A lack of judgement and a touch of restraint from Lighton makes this a compelling watch, one that captures the heartbreak and joy of a relationship - and which shows devotion in its many forms can be utterly devouring - and totally destructive.

How To Make a Killing: Movie Review

Cast: Glen Powell, Jessica Henwick, Margaret Qualley, Ed Harris, Bill Camp, Zach Woods, Topher Grace

Director: John Patton Ford

More half-hearted than horrifically entertaining, not even Glen Powell's star charisma can save the 2026 remake of Kind Hearts and Coronets.

In this, Powell plays shut-out-of-the-family-inheritance Becket Redfellow, who begins the film seemingly on death row, hours from execution and in the mood to make a confession to a priest who's been summoned.

So begins Becket's story - detailing everything from his mother being banished from the Redfellow estate after falling pregnant to a guesting musician to Becket's own rise up through the company, thanks to the kindness of his uncle (Bill Camp).

Deciding on a whim to bump off one of his cousins after the idea's planted in his head by his childhood crush Julia (Qualley, not quite strong enough here to be a femme fatale), Becket begins a plot to take out various members of the family and ascend to take the fortune that he believes he's rightfully due.

How To Make a Killing should be a slam-dunk.

An impressive cast, a killer hook and an "eat the rich" satire promises much - but what director John Patton Ford manages to deliver is something that rises and collapses worse than any cinematic souffle could.

Perhaps the signs are there early on, with the heavy voiceover and exposition killing off the mood at the beginning. There's nowhere to go but up after a limp opening, but How To Make a Killing never really finds its legs.

The deaths which should be gory and glorious are merely full-stops at the end of each portion of the film, with scenes of the coffins being carried off into the family mauseoleum feeling like the cinematic equivalent of a child ending its summer report with the words, "And it was good."

The weaker drama doesn't carry through the film and there's no suspense or tension where there should be. Equally, while there's supposed to be a moment that Becket realises he's content and found happiness when he least expected it in a way he hadn't planned for, the catharsis is weak and unearned, trotted flatly out for the audience, but barely invested in.

There are some performances that shine.

Silicon Valley's Zach Woods amuses as the artist of the family, and the relationship between Powell's Becket and his unexpected love Ruth (Jessica Henwick) feels like it's the only thing with heart in the movie. Though Camp's performance adds depth and nuance where none is written.

Sadly, How To Make a Killing delivers barely any murderous intent during its 105 minutes and audiences are more likely to leave the film, declaring it's guilty of killing off the atmosphere and potential, rather than handing over something that's murderously memorable.

Zootopia 2: Disney+ Movie Review

Cast: Ginnifer Goodwin, Jason Bateman, Andy Samberg, Idris Elba, Ke Huay Quan
Director: Jared Bush, Byron Howard

The sequel to the 2016 much-loved mismatched buddy cop comedy Zootopia arrives at a precarious time for Disney animation, which has floundered in the past two years with audiences, unable to largely launch new properties and facing accusations that it's simply mining its own back catalogue for profit.

Those comments will be squarely scotched by Zootopia 2, a family movie that hits all ages and all demographics with incredible ease and which shows that packed with sight gags, action, a well-developed story and a great deal of heart, animation can soar well above anything else out there.

In this latest, enthusiastic Judy Hopps (Goodwin, perky and endearing) has been permanently paired up with the street-smart Nick Wilde (an ever-laconic Jason Bateman) on the Z police force after they saved the city in the first film.

But convinced that every case she takes is going to save the world, Judy irritates both the police force bosses (a reliably gruff Idris Elba, largely abandoned in the back half) and her partner, who's more keen on doing the bare minimum.

However, when Judy finds the shedded skin of a reptile long thought banished from Zootopia, she senses a case that needs to be solved - something which puts both her and Nick in extreme danger.

Any film that can give throwaway sight gags involving The Shining, Hungry hungry hippos, The Godfather, Ratatouille, The Silence of the Lamb as much space as a story involving the replacement of indigenous races and commentary on ICE raids in America deserves to be commended.

But any film that can juggle all that and do it with such chutzpah that leaves you with sore sides from laughter and a heart ache from its central message is a piece of superlative entertainment - which is what Zootopia 2 is.

Sure, there's a message of acceptance and of all species living together (it's Zootopia after all), but there's plenty of good grace and good will felt for these characters to allow that message to pass safely into the audiences. 

Zootopia 2 also works strongly because it's blessed with top-notch animation, a universe that feels lived in and a sequel that showcases other parts of the world not previously seen in the first film. All of which feels distinctly natural and at home within the confines of the story. A swamp-like Bayou world is home to some of the film's more distinctive silliness and plenty of gags as well as some of the film's better action. Plus, with recurring characters and a whole menagerie of new animals, this film never once feels cluttered.

The only brief stutter is a slowing of the film that hits after the breakneck pace has paused - but that is the only lower point of a film that's easily as much a classic as the first one was.

If anything, Zootopia 2 continues to show that sequels can shine without forgetting what made the 2016 film such a hit in the first place - smart writing, a clever and relatable dynamic and a laser-focused eye on pure entertainment. 

A threequel is inevitable, but that's excellent news - because this is a film franchise that has plenty to give and long may it continue.

Zootopia 2 is available to stream on Disney+ from March 11.

Planet of Lana II: Children of the Leaf: PS5 Review

Developed by Wishfully
Published by Thunderful Publishing
Platform: PS5

More evolutionary than revolutionary, Planet of Lana II builds on the good will of the first game

Set two years after the events of the first, it's back to the world of Lana and her cat-lika pal Mui as they explore a planet called Novo.

But in the intervening time since the pair defeated the robots threatening their civilisation, the duo's had time to bond - and Lana's had time to build on her skillset.

This time, in this 2.5D side-scrolling adventure, Lana's built up her skillset and is able to be more agile in the game, leading them deeper into danger and giving them a chance to

be more effective in seemingly life-threatening situations. More capable and more agile, she's able to move faster, slide under obstacles and also dive underwater in the world of Novo.

Which is a good thing, as there's plenty of new puzzles to try and crack in a world filled with forests, snowy mountains and deep sea trenches. (At times, it's like being part of Dave the Diver's world underground in the water sections.)

And talking of the world, it's fair to say this game looks beautiful, a set of stunning vistas making the backgrounds of this side-scroller soar.

That doesn't mean that the game's lost any of its bite - and certainly when it comes to tackling some of the trickier puzzles, get it wrong, and you'll soon know about it. 

A key element this time is more precision and timing - one wrong move and it's all over, leading to the most horrific cries of loss from Mui.

The thing with Planet of Lana II: Children of the Leaf - aside from its longer story (around 8 hours this time) - is that it's more engaging and more immersive.

There's not one moment you don't feel deeply engaged in the core game, the story and the bond that's forged between the pair - as well as with Lana's sister who's responsible for the story going forward.

With smart enough spawnpoints and plenty of autosaves, there's enough here to ensure that you don't get too frustrated when things go wrong - because they will - and can dive back in where you need to.

Planet of Lana II: Children of the Leaf is a great second chapter - it may not fully invent Lana's wheel, but a strong ability to keep you engaged means any third chapter with Lana and Mui would be incredibly welcome.

Win a double pass to see Project Hail Mary in cinemas

To celebrate the release of Ryan Gosling's new film Project Hail Mary, in cinemas March 19, thanks to Sony Pictures NZ, you can win a double pass.

About Project Hail Mary

Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. 

As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. 

He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction... but an unexpected friendship means he may not have to do it alone.

Project Hail Mary is in cinemas March 19

God of War: Sons of Sparta: PS5 Review

Developed by MegaCat Studios and Santa Monica Studio
Published by Sony Interactive
Platform: PS5

For those looking for a return to Kratos' world may slightly be surprised by this 2D Metroidvania game that takes away Kratos' axe and gives him back a spear and a chance to fight some old enemies.

Essentially a maze game that's about looking for a new way to tell Kratos' story and setting back in Greek ideologies and mythologies proves to be a tonic on some fronts, but does expose a few storytelling flaws as it goes on.

You get to play as a young Kratos, a teenager who's barely found his bearded anger yet and who is about to learn a lesson of responsibility as the game goes on. Teaming up with his brother Deimos on an adventure outside of Sparta, there are various missions for Kratos to carry out, some of which are enticing and others which are slightly dull.

What's perhaps most disappointing about God of War: Sons of Sparta is the fact it feels like a mobile phone game, one that uses none of the tech's cinematic prowess or the engine's capability. Combat is simple, stab, slash, hack, jump and avoid. Perhaps it's more suited to a PS Portal than a large scale console and TV set up.

Granted, the further into the game you go, the more ability you get, but largely, this feels like a muted entrant into Kratos' world, one that diminishes the power of his legend. 

How you'll feel about dedicating some 20 hours to the game depends largely on how invested you are in the Greek Odyssey of Kratos himself, but don't be surprised if this leaves you feeling underwhelmed - despite the best intentions of MegaCat studios.