Monkey Man: Blu Ray Review

Cast: Dev Patel, Sharlto Copley, Pitobash, Sikandar Kher, Ashwini Kalsekar
Director: Dev Patel

Dev Patel's directorial debut takes us through the slum worlds once again en route to a revenge film via a prism of cultural sensitivity and spiritualism.

The end result is a film the essence we've seen many times before but an aesthetic that feels as fresh as it is frenetic.

Through flashbacks and glimpses Patel fleshes out his character Bobby's back story, weaving hints of Hinduism and mythology as he goes. His Bobby may have sprung to life out of tragedy and trauma but Patel keeps a strong grip on what makes his journey so compelling and humane.

Whether it's the weaving through the slums, the hints of Bollywood or humanizing the transgender /queer community, Patel's eye for clarity signals Monkey Man's difference throughout.

While there are plenty of frenetic edits, rendering neon soaked vistas or high class VIP clubs places of vibrancy and danger, Monkey Man isn't afraid to slow it down and give some of the story a chance to breathe.

But that's also to Monkey Man's detriment as the script becomes over reliant on exposition and clearly explaining the parallels between the quoted Hanuman myth and Bobby's situation.

And while it doesn't rob the film of its edge, it does serve to show how occasionally surface level and shallow it can be. That's not to say the flashbacks don't deliver the emotional payoff and explain Bobby's quest for payoff, but by their very nature they're not quite long enough to cover the occasional slow moments.

Yet, when it thrills, it does so magnificently and malevolently. Ultraviolent in parts, and pre-empting the John Wick comparisons by a throwaway reference, Patel's movie offers a glimpse of how tired tropes and genre exhaustion can be shaken up. 

It's a classy debut that offers up much in terms of vicarious over-the-top thrills, will please many audiences and shows that Patel has an eye for the fresh that will serve him well in future.

Thelma: Movie Review

Cast: June Squibb, Richard Roundtree, Fred Hechinger, Clark Gregg, Parker Posey, Malcolm McDowell
Director: Josh Margolin

The nonagenarian counterpart to Jason Statham's action-filled The Beekeeper, Thelma is an absolute and unmitigated delight.

When Thelma (a sprightly and spry Squibb) is conned out of $10,000 by scammers who claim her beloved grandson (Hechinger) is in jail after an accident, she decides not to let it hold her back after police say nothing can be done.

Finding the address where she posted the money, the determined OAP sets out to recover the cash - and ends up enlisting the help of Ben (Roundtree, in his final feature film outing) - despite his protestations otherwise.

There's a sweetly bitter core at the heart of Thelma, but it's held together with such good humour by the script and Squibb's performance that it's hard to deny the odd couple road trip vibe that's meshed with a riotous edge.

While the story proffers dalliances with serious issues facing the older generation (incarceration in care homes, senility and loss) it rarely dwells cheaply on them, preferring instead to roll in tropes of action films (a final explosion is just hilarious) with a rollicking story that rattles along.

Squibb offers an absolute showcase of humanity in a role that calls for comedy and pathos aplenty. Laughs are gained from a scene where she tries to call old friends to help, with a tragi-comic undercurrent that they've all recently died or had strokes, or illnesses. There's plenty of veracity within the story - but not once does it overplay its hand, preferring to keep proceedings more effective by dealing with lighter edges.

Sure there's broad comedy throughout - but for every seemingly easy laugh, there's a subtle point about the reality of getting old and being old. There's feistiness aplenty, running gags about Thelma knowing everyone she meets during this road trip and a crowd-pleasing glee to what transpires in this pastiche of Mission: Impossible and the aforementioned Statham film. (Though admittedly with less of a body count.)

"This whole thing has been really ridiculous" one character intones at one point of the film. In truth, they have a point; but in reality, had it not been so, this would not have been the joyous tale it turns out to be - and one of the best films of a somewhat lacklustre 2024.

What's on Disney+ in September

Here’s everything coming to Disney+ in September 2024.

19 September

Agatha All Along - Disney+ Original Series

Premiere

The infamous Agatha Harkness finds herself down and out of power after a suspicious goth Teen helps break her free from a distorted spell. Her interest is piqued when he begs her to take him on the legendary Witches’ Road, a magical gauntlet of trials that, if survived, rewards a witch with what they’re missing. Together, Agatha and this mysterious Teen pull together a desperate coven, and set off down, down, down The Road…

4 September

Tell Me Lies: Season 2  - Star Original Series

Premiere

Tell Me Lies Season 2 picks up as Lucy Albright (Grace Van Patten) and Stephen DeMarco (Jackson White) return to college, not speaking after their dramatic breakup at the start of the summer. Yet while very much at odds, they find themselves in a new version of their addictive dynamic - which is as infuriating as it is inescapable. Meanwhile, the story expands deeper into the lives of Lucy and Stephen’s friend group, as the fallout from Season One impacts all of their lives in unexpected ways.

Also in September…

4 September

Disney+ Original

LEGO Pixar: BrickToons

Star Original

International

Murai in Love

6 September

Star Original

The Secret Lives of Mormon Wives

Movies

Believeland

The Birth of Big Air

Mike and the Mad Dog

Into the Wind

Catholics vs. Convicts

Fernando Nation

8 September

Special

Big City Greens the Movie: Spacecation (Sing-Along Version)

11 September

Star Original

International

Los Chavez

International

Seoul Busters

12 September

Star Original

Muslim Matchmaker

13 September

Star Original

LEGO Star Wars: Rebuild the Galaxy

In Vogue: The '90s

How to Die Alone

17 September

Star Original

Child Star

18 September

Series

After Baywatch: Moment in the Sun

Wayne Brady: The Family Remix

20 September

Star Original

The Contestant

22 September

Star Original

International

The Judge from Hell

24 September

Star Original

Out There: Crimes of the Paranormal

25 September

Star Original

Mama Cake

At Witt’s End: The Hunter for a Killer

Series

Kindergarten: The Musical

Macross 7

International

Volta Priscila

Movies

Fly

27 September

Disney+ Original

International

Ayla & the Mirrors

Star Original

She Taught Love

Special

An Oprah Special: Artificial Intelligence and the Future of Us

28 September

Star Original

Little Miss Innocent

Social Studies

New Episodes

Only Murders in the Building: Season 4 New episodes weekly on Tuedays

Futurama: Season 12 New episodes weekly on Mondays

Are You Sure?! New episodes weekly on Thursdays, finale 19 September

Reasonable Doubt: Season 2 New episodes weekly on Thursdays

Marvel's Spidey and his Amazing Friends: Season 3 New episodes 4 and 18 September

The Fable New episodes weekly on Sundays, finale 29 September

Code Geass: Roze of the Recapture Finale 6 September

Mission: Yozakura Family New episodes weekly on Sundays

Me & Winnie the Pooh 14 x new episodes 4 September

My Name is Gabriel New episodes weekly on Saturdays

Disney Jr.'s Ariel 6 x new episodes 25 September

What's on Netflix in September

Here's everything that's streaming on Netflix in September.

EMILY IN PARIS: SEASON 4 PART 2

Premieres on September 12, 2024

Emily has everything she wants, but is it what she needs? From skiing in the French Alps to taking a Roman holiday, she's ready for her next adventure.

Starring: Lily Collins, Philippine Leroy-Beaulieu, Ashley Park, Lucas Bravo, Camille Razat, Samuel Arnold, Bruno Gouery, William Abadie, Lucien Laviscount, Eugenio Franceschini, Thalia Besson, Rupert Everett, Anna Galiena, Raoul Bova

Country of Origin: United States

THE PERFECT COUPLE

Premieres on September 5, 2024

Amelia is about to marry into one of the wealthiest families on Nantucket, until a shocking death derails the wedding — and turns everyone into a suspect. Nicole Kidman and Liev Schreiber lead a stellar cast in this delicious whodunit based on Elin Hilderbrand's New York Times bestselling novel.

Starring: Nicole Kidman, Liev Schreiber, Eve Hewson

Country of Origin: United States

FOLLOW THE RAIN

Available on Netflix September 1, 2024

Across the rich Australian landscape, two fungi hunters discover unknown species and capture their vibrant finds through time-lapse photography.

Starring: Stephen Axford

Country of Origin: Australia

UNTOLD: HOPE SOLO VS. U.S. SOCCER

Premieres on September 3, 2024

World Cup champion Hope Solo opens up about her turbulent rise to the top of women's soccer amid public scandals and tension with former teammates.

Starring: Hope Solo

Country of Origin: United States

APOLLO 13: SURVIVAL

Premieres on September 5, 2024

Using original footage and interviews, this documentary tells the nail-biting story of Apollo 13 and the struggle to bring its astronauts safely home.

Country of Origin: Great Britain

REBEL RIDGE

Premieres on September 6, 2024

A former Marine confronts corruption in a small town when local law enforcement unjustly seizes the bag of cash he needs to post his cousin's bail.

Starring: Aaron Pierre, Don Johnson, Anna Sophia Robb

Country of Origin: United States

SELLING SUNSET: SEASON 8

Premieres on September 6, 2024

Glam looks. Fierce clashes. Stunning homes. It's business as usual for The Oppenheim Group as they welcome a new agent and bid farewell to a dear friend.

Starring: Jason Oppenheim, Brett Oppenheim, Chrishell Stause, Mary Fitzgerald, Emma Hernan, Amanza Smith, Chelsea Lazkani, Bre Tiesi, Nicole Young

Country of Origin: United States

UGLIES

Premieres on September 13, 2024

In a futuristic dystopia with enforced beauty standards, a teen awaiting mandatory cosmetic surgery embarks on a journey to find her missing friend.

Starring: Joey King, Keith Powers, Laverne Cox

Country of Origin: United States

MONSTERS: THE LYLE AND ERIK MENENDEZ STORY

Premieres on September 19, 2024

This riveting true-crime drama probes the lives of convicted killers the Menendez brothers and the brutal 1989 murder of their parents in Beverly Hills.

Starring: Javier Bardem, Chloë Sevigny, Nicholas Alexander Chavez & Cooper Koch

Country of Origin: United States

HIS THREE DAUGHTERS

Premieres on September 20, 2024

Three estranged sisters reunite in their ailing father's New York City apartment during his final days.

Natasha Lyonne, Elizabeth Olsen and Carrie Coon star in this affecting drama from writer-director Azazel Jacobs.

Starring: Natasha Lyonne, Elizabeth Olsen, Carrie Coon

Country of Origin: United States

Only Murders in the Building: Season 4 Review

To say the fourth season of Only Murders in the Building is a little more muted is to acknowledge the fact the last three seasons have pushed the concept as far as it could conceivably go - and as far as audience's tolerance for the idea overall.

But as the end of the third season seemed to indicate, someone was gunning for Steve Martin's Charles Hayden Savage after a bullet was fired through his apartment window and seemingly offed Jane Lynch's Sazz Pataki aka Charles' stunt double on his Columbo-style knockoff show Brassos.

The fourth season takes up just moments later but sees Charles, Mabel (Selena Gomez) and Oliver (Martin Short) caught up in a Hollywood glow as Molly Shannon's showbiz executive Bev tries to talk them into a big film adaptation of their podcast adventures.

It's here the series takes a step outside of the Arconia building that has homed so many deaths and which in truth has rarely been better than the first season which seemed to catch lightning in a bottle, which it's been trying to chase ever since.

As Hollywood crashes into the show, it brings Eugene Levy, Zach Galifianakis and Eva Longoria playing Charles, Oliver and Mabel respectively - which given how meta the last season's jokes had become seemed like a step too far this time around, mocking their respective characters and winking at the audience.

But in truth, the slapstick and downright tomfoolery is confined more to the episodes that involve the Hollywood cast - a sign that perhaps the writing has matured a little more this time around.

Certainly, Gomez and Martin's characters are forced more into introspection this time around, with the series pushing a more reflective tone on proceedings as the constant shadow of death in the Arconia stifles the joie de vivre.

Yet, in parts, Only Murders in the Building feels like it's reaching a natural end, its proclivity for showy season-ending cliffhangers beginning to feel strained.

There's a lot of guest stars this time around - Melissa McCarthy, Richard Kind, Kumail Nanjiani, Molly Shannon; the list goes on and in parts, so does the story. Lacking the compunction and urgency of the first season's centrally propulsive story of Tim Kono's death and mocking the plotholes from it, season 4's mystery feels a little more unfocussed this time around - and remarkably is largely the better for it.

Martin relishes a more sombre tone, rising to his character's needs and Short has had some of his more excessively flamboyant touches reined in. But it's Gomez's character who feels less well-served this time around. Described as a mumbling millennial who's homeless sends Mabel into a tailspin, but also seems to signify writers aren't quite sure what to do with her this season - she's been stagnating since the mid-part of season two.

As a whole, it's difficult to say whether the fourth season sticks the landing. Previews only go as far as episode 7, the ending of which doesn't exactly feel like a narrative must-resolve for the final run of episodes, despite everyone's hard work within.

Don't be mistaken though - there are still the same silly puns and easy gags that you'd expect throughout the show's latest run and if it feels more maudlin, perhaps it's just a sign the writers were aware how close to the wind they were sailing with season 3.

Only Murders in the Building is still an enjoyable polished production - but perhaps the time is rapidly coming for this building to be put on the market and rested for a while.

Only Murders in the Building streams on Disney+ from Tuesday, August 27.
7 of the 10 episodes of season four were available for review, and were watched for the purposes of this review.

Star Wars Outlaws: PS5 Review

Developed by Massive Entertainment
Published by Ubisoft
Platform: PS5

Star Wars games have traditionally focused on the Jedi at the expense of the rest of the worlds around them.

That's not to say the hauling of a light sabre and the Force powers are to be sniffed at, merely to suggest there are plenty of other characters to explore.

So it's with a certain amount of glee that Massive Entertainment have brought a "scoundrel" to the fore in the new game in the shape of Kay Vess and her animal companion Nix. What's refreshing is just how normal she is - she's someone just trying to make a living her way in the Star Wars universe - whether it's taking on jobs or using her pet pal Nix to steal from others to make ends meet.

As the underworld grows, Kay is offered various jobs and allegiances around a series of planets in the Star Wars universe, giving her the chance to grow her reputation among crime syndicates. But if at any moment she goes rogue, a Wanted system is put in place, making her persona non grata at the drop of a hat - and hunted by all.

There's a loose story to Star Wars Outlaws, but in truth, the open world concept works better for the game, a subtle mix of most of the mechanics of other Ubisoft titles and Star Wars. Throw in some climbing mechanics that look ripped from Tomb Raider and the game's familiarity could feel like a bad thing, a distinct feeling that there are no new ideas within gameplay in general.

But that's where Star Wars Outlaws uses its basics to build a world around Kay and Nix; from eavesdropping in cantina bars to hear about bounties and hidden treasures to hurtling around on a speeder bike, there's just something about the galaxy cruising that makes Outlaws work.

From messy blaster attacks to take down villains to an infuriatingly oblique rhythm game mechanic to pick locks, Massive Entertainment's made this the kind of world that's worth inhabiting, warts and all. It's not perfect - in parts some of the stealth work goes a little awry and the game begins to frustrate rather than entertain. And graphically there are times when this really doesn't feel like a next gen console game, with hair and facials not quite adding up.

Yet ultimately, Star Wars Outlaws succeeds as a game that's fun, that develops the Star Wars model away from what it has boringly become and which grounds you delightfully in a galaxy far, far away.

What's on Shudder in September

Here’s everything that’s streaming on Shudder in September.

In A Violent Nature

Film Premieres on Shudder and AMC+ Friday 13 September

When a locket is removed from a collapsed fire tower in the woods that entombs the rotting corpse of Johnny, a vengeful spirit spurred on by a horrific 60-year-old crime, his body is resurrected and becomes hellbent on retrieving it. The undead golem homes in on the group of vacationing teens responsible for the theft and proceeds to methodically slaughter them one by one in his mission to get it back - along with anyone in his way. A groundbreaking and gruesome slasher from writer and director Chris Nash (ABCs of Death 2).

Oddity

Film Premieres on Shudder and AMC+ Friday 27 September

When Dani is brutally murdered at the remote country house that she and her husband Ted are renovating, everyone suspects a patient from the local mental health institution, where Ted is a doctor. However, soon after the tragic killing, the suspect is found dead. A year later, Dani’s blind twin sister Darcy, a self-proclaimed psychic and collector of cursed items, pays an unexpected visit to Ted and his new girlfriend, Yana. Convinced that there was more to her sister's murder than people know, Darcy has brought with her the most dangerous items from her cursed collection to help her exact revenge.

From writer/director Damian McCarthy (Caveat) and starring Carolyn Bracken and Gwilym Lee.

All You Need is Death

Film Premieres on Shudder and AMC+ Saturday 7 September

A young couple who collects rare folk ballads discover the dark side of love when they surreptitiously record and translate an ancient, taboo folk song from the deep, forgotten past.

Eight Eyes

Film Premieres on Shudder and AMC+ Saturday 23 September

A mysterious local crashes a couple’s vacation through the former Yugoslavia, pulling them deeper into his web of psychic rituals. Starring Emily Sweet (V/H/S/99), Brad Thomas and Bruno Veljanovski.

What's on Neon in September

Here's everything that's streaming on Neon in September.

The Penguin (September 20, from 4pm)

Following the events of The Batman, Oswald Cobblepot aka The Penguin makes a play to seize the reins of Gotham City's criminal underworld.

Stars: Colin Farrell, Cristin Milioti, Rhenzy Feliz

Not Even Season 2 (September 4)

Ma, Heps, Pua, Liz, and Taaps are your average group of twenty something Maori and Pasifika living in Wellington. Together, this group of friends crash through the city, grappling first with their cultural identities and then with each other.

Movies

Wonka (September 13)

Armed with nothing but a hatful of dreams, young chocolatier Willy Wonka attempts to change the world, one delectable bite at a time. The magical, musical origin story of Willy Wonka.

Stars: Timothee Chalamet, Olivia Colman, Hugh Grant

Aquaman and the Lost Kingdom (September 25)

Aquaman must protect his kingdom, and the world, from irreversible destruction when a vengeful Black Manta returns wielding the power of the mythic Black Trident.

Stars: Jason Momoa, Patrick Wilson, Yahya Abdul-Mateen II, Amber Heard, Nicole Kidman, Randall Park

Reality (September 1)

A young NSA employee is suspected of mishandling classified information. On a Saturday afternoon she is confronted at her home by the FBI, where a cryptic conversation begins. Based on an incredible true story, using dialogue from actual FBI transcripts.

Stars: Sydney Sweeney, Josh Hamilton

Force of Nature: The Dry 2 (September 8)

Five women head out into isolated bushland on a retreat. Several days later, only four return. As Detective Aaron Falk investigates, he must confront deep secrets lurking in the mountains.

Stars: Eric Bana, Anna Torv, Deborra-Lee Furness, Robin McLeavy, Sisi Stringer, Lucy Ansell, Jacqueline McKenzie

What's on Prime Video in September

Here's everything streaming on Prime Video in September

Rev your engines this September for The Grand Tour: One For The Road as Jeremy Clarkson, Richard Hammond and James May set out for one last hurrah filled with hilarity, cool cars and of course, arguing in true ‘tour’ style.

A classic noir style mystery thriller, starring Joseph Gordon-Levitt and Richard Madden, Killer Heat follows a private eye hired to investigate the accidental death of a young shipping magnate on the exotic Crete where there is darkness at every turn.

One night. One hour. One interview that sent shockwaves around the globe - A Very Royal Scandal is based on the real-life 2019 interview between Emily Maitlis and Prince Andrew over the scandalous Jeffrey Epstein accusations.

THE GRAND TOUR: ONE FOR THE ROAD

AVAILABLE EXCLUSIVELY FROM FRIDAY 13 SEPTEMBER

The Grand Tour is about three middle-aged men travelling around doing cool things and arguing. Jeremy Clarkson, Richard Hammond and James May rampage around the world driving the best and most exciting cars in the most epic and most interesting landscapes and then having a petty argument until one of them falls over. In The Grand Tour: One For The Road, their last ever Grand Tour adventure, the trio ignore the instructions of Mr. Wilman and head to Zimbabwe in three cars they’ve always wanted to own, a Lancia Montecarlo, a Ford Capri 3-litre, and a Triumph Stag, for a stunning road trip through beautiful and sometimes challenging landscapes leading to an emotional ending on a strangely familiar island.

KILLER HEAT

AVAILABLE EXCLUSIVELY FROM THURSDAY 26 SEPTEMBER

A thrilling, contemporary mystery in classic noir style, Killer Heat follows private eye Nick Bali, an American expat in Greece, hired to investigate the accidental death of young shipping magnate Leo Vardakis on the island of Crete. The victim’s sister-in-law doesn’t believe the official police report. But what exactly happened to Leo, and why? Despite the sun-drenched beauty of its exotic Mediterranean locale, Nick finds darkness at every turn: where the rich and powerful Vardakis family rule like gods, where jealousies run deep, and anyone could be a suspect.

Killer Heat stars Joseph Gordon-Levitt, Shailene Woodley and Richard Madden.

A VERY ROYAL SCANDAL

AVAILABLE EXCLUSIVELY FROM THURSDAY 19 SEPTEMBER

One night. One hour. One interview that sent shockwaves around the globe. Based on the real-life2019 interview between Emily Maitlis and Prince Andrew over the scandalous accusations he faced regarding his involvement with Jeffrey Epstein and Virginia Giuffre. A Very Royal Scandal follows the action of Maitlis and Prince Andrew in the lead-up to the interview, the ground-breaking event itself and the many questions left in its wake that would change their lives forever.

A Very Royal Scandal stars Michael Sheen, Ruth Wilson, Joanna Scanlan, Alex Jennings and Éanna Hardwicke.

FORCE OF NATURE: THE DRY 2

AVAILABLE FROM THURSDAY 5 SEPTEMBER

After receiving a distressing call from an informant, Federal Agents Aaron Falk and Carmen Cooper head deep into the Giralang Ranges to investigate the whereabouts of their corporate whistle-blower Alice after she mysteriously disappears on a company hiking retreat. The four women who were recovered from the bush each seem to be hiding something about their traumatic experience.

As Falk and Cooper close in on the case, they uncover worrying details about the connections between these women and begin to fear for the safety of their missing informant as a storm threatens to halt the search.

Force of Nature: The Dry 2 stars Eric Bana, Anna Torv, Deborah Lee-Furness and Robin McLeavey

THE TRAGICALLY HIP: NO DRESS REHEARSAL

AVAILABLE EXCLUSIVELY FROM FRIDAY 20 SEPTEMBER

The Tragically Hip: No Dress Rehearsal is a love story between a band and the country they call home. With never before seen personal and archival footage, the Canadian rock'n'roll legends share the story of their unique, complicated and wildly successful musical brotherhood. Forty years of hits and misses, friendship and frustration, triumph and tragedy, the docuseries features unseen performances, unreleased music and unprecedented access to The Hip 

CALL ME BAE

SEASON 1 AVAILABLE EXCLUSIVELY FROM FRIDAY 6 SEPTEMBER

The eight-part series is a light-hearted, visually captivating comedy drama that revolves around the life of Bella Chowdhary, aka Bae. Downsized from heiress to hustler, Bae discovers her most valuable assets aren't her diamonds, but her street-smart style. Broke, but refusing to be broken, she navigates the newsrooms of Mumbai and her better self while breaking news 

Call Me Bae stars Ananya Panday, Vir Das, Gurfateh Pirzada, Varun Sood, Vihaan Samat, and Muskkaan Jaferi.

ELISABETH RIOUX: UNFILTERED

AVAILABLE EXCLUSIVELY FROM FRIDAY 6 SEPTEMBER

Elisabeth Rioux: Unfiltered follows French-Canadian social media star and entrepreneur, Elisabeth Rioux as she jet-sets the globe building her Quebec based international swimwear company, while trying to balance romance, family, and motherhood. Giving an intimate, behind-the-scenes glimpse into Elisabeth's fast-paced life - from steamy photoshoots to glamorous global adventures, the six-part series pulls back the curtain on the triumphs and struggles of maintaining a global personal and professional brand.

After launching her swimwear brand at just 17 years old, Elisabeth Rioux has become one of Canada's most successful young entrepreneurs and content creators with over 1.6M followers and counting. Elisabeth Rioux: Unfiltered offers a candid exploration of the woman behind the brand, revealing the ups and downs she faces as she strives to handle the intense pressure of it all. Friends Claudia Tihan, Rémi Desgagné, Marilou Laperrière and her family are by her side as they help her navigate her booming business. Filmed in Montreal and throughout Quebec, the series travels to Miami, Costa Rica and Italy to capture an unparalleled look into the dynamic world of Elisabeth Rioux.

SEPTEMBER 2024 TOP PICKS:

GLADIATOR (MOVIE) 1/09/2024

INVADERS FROM MARS (MOVIE) 1/09/2024

THE TERMINATOR (MOVIE) 1/09/2024

THE RETURN OF THE PINK PANTHER (MOVIE) 1/09/2024

A SHOT IN THE DARK (MOVIE) 1/09/2024

THE PINK PANTHER (1964) (MOVIE) 1/09/2024

THE PINK PANTHER (2006) (MOVIE) 1/09/2024

THE PINK PANTHER 2 (MOVIE) 1/09/2024

REVENGE OF THE PINK PANTHER (MOVIE) 1/09/2024

THE PINK PANTHER STRIKES AGAIN (MOVIE) 1/09/2024

TRAIL OF THE PINK PANTHER (MOVIE) 1/09/2024

CURSE OF THE PINK PANTHER (MOVIE) 1/09/2024

SON OF THE PINK PANTHER (MOVIE) 1/09/2024

GOOSEBUMPS 2: HAUNTED HALLOWEEN (MOVIE) 1/09/2024

THE EQUALIZER 2 (MOVIE) 1/09/2024

WHERE THE WILD THINGS ARE (MOVIE) 1/09/2024

FORCE OF NATURE: THE DRY 2 (MOVIE) 5/09/2024

WNBA: SEATTLE STORM AT NEW YORK LIBERTY (SPORT) 5/09/2024

CALL ME BAE S1 (TV) 6/09/2024

ELISABETH RIOUX: UNFILTERED S1 (TV) 6/09/2024

LEGO DREAMZZZZ S2 (TV) 6/09/2024

WNBA: WASHINGTON MYSTICS AT PHOENIX MERCURY (SPORT) 6/09/2024

THIAGO VENTURA (SPECIAL) 11/09/2024

MANES S2 (TV) 11/09/2024

SELF/LESS (MOVIE) 11/09/2024

THE GRAND TOUR: ONE FOR THE ROAD 13/09/2024

WNBA: NEW YORK LIBERTY AT DALLAS WINGS (SPORT) 13/09/2024

ASPHALT CITY (MOVIE) 15/09/2024

AMERICAN ASSASSIN (MOVIE) 17/09/2024

WNBA: INDIANA FEVER AT WASHINGTON MYSTICS (SPORT) 19/09/2024

A VERY ROYAL SCANDAL (TV) 20/09/2024

THE TRAGICALLY HIP: NO DRESS REHEARSAL S1 (TV) 20/09/2024

INGEBRIGTSEN BORN TO RUN S1 (TV) 20/09/2024

FABRIZIO COPANO STAND UP (SPECIAL) 20/09/2024

CAN YOU KEEP A SECRET? (MOVIE) 22/9/2024

HOTEL ARTEMIS (MOVIE) 25/09/2024

KILLER HEAT (MOVIE) 26/09/2024

PREVIOUSLY SAVED VERSION (MOVIE) 27/09/2024

Midas Man: Movie Review

Cast: Eddie Marsan, Emily Watson, Jacob Fortune-Lloyd, Jonah Lees
Director: Joe Stephenson

Midas Man's attempt to portray the man dubbed by Paul McCartney as the fifth Beatle proves to be alluring in this character study of Brian Epstein who burned a brief but active candle during his time in the world.

In this lively, but heavily nostalgia-led, piece Fortune-Lloyd consistently breaks the fourth wall as the titular Midas Man who took his time to shine - but seized on it successfully.

From his plans within his father's department store in Liverpool to see records from abroad to his persuading of record executives to sign the ban who will be "bigger than Elvis", Fortune-Lloyd makes Epstein an endearing underdog character whose charisma burns from the screen 

But too often in Brigit Grant and Jonathan Wakeham's screenplay, moments for character depth are passed over in favour of bursts of electric Beatle moments or nostalgia-heavy recreations of the time and place.

Epstein's more tortured moments are reduced dramatically to their more stereotyped edges and the film seems loathe to portray a multi-faceted character, darkness and all. From his struggle as a guy man to his drugs problems, Midas Man is less keen to embrace the darkness and opts for a frothing feel, albeit one that makes the biographical edges more perhaps palatable to a wider audience.

Yet the light touch and jolly japery of the Beatles and Epstein's interactions make for a frivolous edge and a desire to keep them om the periphery of the action proves to be wise beyond words lest their so-often told story overshadows proceedings.

It falls to Darci Shaw as Cilla Black to hint at more of the unhappiness in Epstein's life as relationships and family fail him. In these moments, the script exudes a tenderness that's hard to deny and Fortune-Lloyd more than stakes a claim as a worthy-lead.

But some scenes of exposition-led history feel more from a theatrical performance than a big screen production, robbing the movie of a sense of time and its place in historical chronology.

While in some parts, Midas Man feels emotionally lacking, in others, it is genial and affable and somewhat essential- it touches many parts of the Epstein story and leaves them golden. 

What's on DocPlay this September

Here's everything that's streaming on DocPlay this September:

Enjoy a bumper crop of exclusive DocPlay releases this September. Steve McQueen’s epic Holocaust memorialisation Occupied City streams from 16 Sept, and, coinciding with the theatrical release of Francis Ford Coppola’s Megalopolis, Hearts of Darkness takes a behind-the-scenes look at the tumultuous production of his 1979 epic Apocalypse Now. A must-see for Matildas fans, Copa ‘71 tells the little-known story of the first Women’s Soccer World Cup.

In Restless Dreams: The Music of Paul Simon  |  2 Sep  |  DocPlay Exclusive

Enjoy the definitive musical biography of Paul Simon – one of the greatest songwriters, and performers, in the history of rock ‘n roll. From Academy Award-winning director Alex Gibney. Now available in both Aus & NZ

Murder in the Outback  |  5 Sep  |  Series

A major in-depth re-examination of the Falconio and Lees mystery, an infamous case from 2001 concerning a horror story of abduction and death on a lonely Australian highway.

Body Parts (Aus only)  |  12 Sept

An extensive cast of Hollywood insiders take us on an eye-opening journey through some of the most iconic sex scenes in movie history, tracing the legacy of exploitation of women in the entertainment industry and revealing what really goes on behind the camera to create on-screen intimacy.

Occupied City  |  16 Sept  |  DocPlay Exclusive

This immersive, epic work of memorialisation from Oscar winner Steve McQueen uncovers WWII histories hidden in plain sight.

After Work  |  19 Sept

Giving voice to a wide range of people — from a delivery driver to an heiress — director Erik Gandini decrypts the world of work and its possible futures.

Hearts of Darkness: A Filmmaker’s Apocalypse  |  23 Sept  |  DocPlay Exclusive

Celebrate the theatrical release of Francis Ford Coppola’s Megalopolis with the remarkable 1991 documentary Hearts of Darkness, which offers a behind-the-scenes look at the tumultuous production of Coppola’s Vietnam War opus Apocalypse Now. Directed by Eleanor Coppola.

Buried Country  |  26 Sept  |  Australian

Discover the untold story of Australian Aboriginal country music.

Copa '71  |  30 Sept  |  DocPlay Exclusive

A must-see for Tillies fans, this inspiring doc tells the little-known story of the first (unofficial) Women’s Soccer World Cup.

Panasonic launches premium TV range with in-built Fire TV capability

Panasonic has launched a new range of its premium 4K OLED TVs with one addition it's hoping will soon become vital - the inclusion of Fire TV.

The range was launched on August 1 and has been accompanied by a wide marketing campaign trumpeting its arrival.

The Panasonic premium range with Fire TV built-in delivers a hub for smart home management. The devices feature a smart home dashboard, offering users an intuitive and integrated experience, where they can easily oversee and manage their smart home using Alexa, Ring and other compatible smart home devices. The premium TV range is the first from Panasonic to feature far-field voice control with Alexa, giving customers the ability to launch apps, play music, search fortitles, and control their smart home, all without reaching for the remote.

Ben Watson, Panasonic NZ's Product Manager said in a statement from Panasonic the focus was on elevating the user experience.

“The Panasonic premium range with Fire TV built-in brings a whole new level of innovation to the home. Panasonic has been renowned for delivering brilliant picture quality with studio accuracy, with a Panasonic lab in Hollywood working hand in hand with the major production houses. Now we elevate the user experience even higher with endless content, apps and smart connectivity. It's so much more than just a TV.”

"It is also taking that a step further and demonstrating how your TV can become a hub for smart home management,” adds Patrick Walker, Amazon Devices Country Manager, Australia and New Zealand. “We’re excited to see the might of Fire TV and the technical precision of Panasonic come together to set a new standard for excellence, with the help of Alexa.”

The premium TV range is the first from Panasonic to feature far-field voice control with Alexa, giving customers the ability to launch apps, play music, search for titles, and control their smart home, all without reaching for the remote. Furthermore, the Z95A, Z93A, Z85A and W95A are compatible with Apple Home and AirPlay, meaning users can control their TV using Siri and effortlessly stream movies, music, games and photos, right from their iPhone, iPad, or Mac.

While the sets don't come cheap - ranging upto to $9,500 for the premium 77 inch range, the company's hoping the idea you don't have to search for content through various different providers will be the big pull for consumers already struggling with choice. Add to that the smart technology capability of being able to get in-house Alexa devices and the remote control to search out shows or films via actors and proffer them up almost immediately, and it's easy to understand why both sides are heralding the new partnership and innovation.

Rich in the latest audiovisual technology, the premium range from Panasonic with Fire TV built-in delivers Panasonic’s highest ever colour accuracy, contrast and pin-sharp clarity. The new Z95A,Z93A, Z85A, W95A TVs represent the combination of a brand-new chipset and bright panel, the HCX Pro AI Processor MK II, with the Master OLED Ultimate panel (or Master OLED Pro Cinema 1 size for the Z93A), with Panasonic’s technical accuracy made possible by Japanese knowhow and engineering, merged with the colour-tuning skills of Stefan Sonnenfeld. Stefan Sonnenfeld, Founder and CEO of Company 3, is a trusted collaborator of some of the world’s best filmmakers. Sonnenfeld is among a handful of leading artists who have championed the power of colour grading to tell stories and communicate emotion.

Fire TV will also scan your most-watched shows to build a content profile of what you're likely to watch and then present recommendations as well. The Z95A will offer both picture quality and an ease of usability for those looking to boost their TV viewing experience and for whom searching around for shows and content is nothing more than a continual hassle.

To find out more about the range, head to Panasonic New Zealand's website.

Nintendo World Championships: NES Edition: Nintendo Switch Review

Developed by Nintendo
Published by Nintendo
Platform: Nintendo Switch

Speed-running is an art form.

From careening through a level that you've already clocked to achieve a new time for fun, or whether it's part of a game like Crash Bandicoot to challenge the reflexes, the artform has become prevalent in gaming over the years.

So it's no surprise Nintendo's leaned in to its extensive back catalogue of games to produce the ultimate collection of speedrunning challenges.

Nintendo World Championships: NES Edition is the kind of disposable game you can pick up and play - and the only limits are the extent of your frustration or desire to better yourself. Collecting together levels from games such as Super Mario Bros., Donkey Kong and The Legend of Zelda, a series of challenges are laid down for either one player, players against the world and local multiplayer.

They can range from simple challenges such as collect the first mushroom in Mario to getting weapons to more complex challenges which gradually unlock through the game.
It's a veritable feast of mini-games content, but the thrill and perhaps also the reward comes into how often you want to replay the games and how engaged you are in the desire to either beat yourself or see how you do against gamers around the world.

But it does feel like Nintendo World Championships: NES Edition doesn't thrive in a single player mode, with challenges quickly feeling repetitive, even the more you unlock.
Presentation-wise the game's split screen capability feels particularly hard to view in some places, with split screens just feeling too small to perfectly view - especially if you're trying to find where you can shave that time off.

Essentially a nostalgia-led retro games bitesize experience, Nintendo World Championships: NES Edition is more fun with others than solo. One good thing though - it reminds you how deep the classic cuts go back from Nintendo and how ultimately these timeless games live on.

Blink Twice: Movie Review

Cast: Naomi Ackie, Channing Tatum, Alia Shawkat, Adria Arjona, Christian Slater, Haley Joel Osment, Geena Davis
Director: Zoë Kravitz

A psychological thriller that's deeply unsettling in parts and reminiscent of both Jordan Peele's Get Out and Us, first-time director Zoë Kravitz delivers a story that will remain with you long after the lights have gone up - even if you don't like yourself for doing so.

Ackie is the down-on-her-luck Frida, a cocktail waitress with an infatuation to disgraced tech mogul Slater King (Tatum, charm and sinister in equal measure). When King apologises steps down from his company due to some vague abuse of power accusations, Frida and her friend Jess (Shawkat) attend a swanky event in his honour.

Sensing an attraction, the pair are invited to King's private island, a place where he claims he will spend his penitence in therapy. Initially unsure, the pair join the island's bacchanal, overdosing on never-ending champagne, drugs and prestige food. But when Jess disappears and nobody seems to notice, Frida finds her paradise soon becoming a nightmare.

Blink Twice is a captivating debut, that's reminiscent in part of the unfolding unease of the likes of Get Out, but also The Menu. Kravitz loads the directorial deck with quick cut shots of opulence and extravagance, layering on a soundscape that ratchets up every single moment with unease.

It may be a deeply unoriginal critique in parts for many but given the parallels with current US politics and life in general, it's not unintentional that Kravitz once again pushes a message that depressingly needs to be constantly relaid. The clues are there in the opening moments, from the seemingly sincere but doubtlessly hollow apology to the reasoning for the stepdown - it's an aggressively familiar trope that Kravitz more than lays her stamp on.

Ackie is impressive, along with Arjona later on in the film - both commanding presences for different reasons. Certainly, Ackie's demand that she no longer be invisible has much societal emphasis on the position of a black woman in a white man's world - and while some will slam the obvious nature of the message, Ackie's to be commended for imbuing her Frida with aspirations that feel real and achievable.

There's much to be said about Tatum's performance too, though currently that goes too far into spoiler territory for now. But needless to say the effortless charisma deployed to maximum effect early on makes later events feel more gut-wrenching than anything.

But Blink Twice is Kravitz's film. From close ups on actors that make for disorienting moments, to an otherworldly nature that oozes through much of Blink Twice, she's clearly in control of her destiny - even in the film's final horror stages.

Blink Twice may not have a new message to tell, and may really add its fuel to the pantheon of disgust in a post MeToo world, but when the message is as thrillingly presented as this, it's well worth dining out on.

Super/Man: The Christopher Reeve Story: Movie Review

Director: Ian Bonhôte, Peter Ettedgui 

Generally affable and at times moving, doco Super/Man: The Christopher Reeve story proves to be a relatively positive portrait of the actor who died aged 52 in 2004.

However, it seems at times to be at pains to push a completely clean image of the man who had commitment issues and referred to himself as a ladies' man, preferring instead to casually toss off more interesting asides in favour of a more prosaic narrative.

Using plenty of archive footage from his formative years as an actor, the film begins in 1995 the year of Reeves' accident before slightly overusing footage of him in Rear Window to convey his darker suicidal thoughts as both Bonhôte and Ettedgui veer dangerously close to over-egging proceedings. 

But cleverly the docomakers use Reeves' own words that he experienced flashbacks as a tool to bring more of his previous life to the fore, and the doco settles for a more conventional method of story-telling that's aimed at providing more heartwarming fare.

What also emerges is just how much of an impact Robin Williams had on his life before and after the accident. (Though these scenes are laced with tragedy, given both their respective fates.)

But both Bonhôte and Ettedgui are more interested in looking to inspire from his life again and to faintly canonise him. One misstep from seemingly being cured of his spinal cord injury during an ad in the SuperBowl shows not everyone was in favour of his advocacy - but despite a few dissenting voices, the topic is raced over, when a more constructive discussion ought to be had about his use of a platform to bring a voice to those who'd been marginalised and ignored in US society.

That's not to suggest this should be a hit job piece but merely to offer that even with some hints of darkness Super/Man: The Christopher Reeve Story is largely a piece of positivity of filmmaking that's more interested in the wholesome and fulsome approach to a life, rather than a more objective eye.

This film is playing as part of the 2024 Whanau Marama New Zealand International Film Festival. For more details, visit nziff.co.nz

Midnight Oil: The Hardest Line: Movie Review

Director: Peter Clarke

A Midnight Oil documentary that ends up more about Midnight Oil themselves rather than the individual band members, director Peter Clarke,'s seven year opus follows the Aussie band from their formation in 1970s Australia to their final live performances some 40 years later.

But while it never seeks to criticise the band, it does stop from canonising them and proffers many electric performances in pubs or on tours at festivals to set a great precedent as to why and how they became so beloved. From representing the voices of the socially repressed at the time to speaking out via song at the Sydney Olympics, the Oils have always had a presence.

With what seems like acres of archive footage to call upon, it's inevitable that the focus zooms into electric front man Peter Garrett rather than the rest of the band. Bass players come and go, a drummer suffers from panic attacks, yet Garrett's live wire approach still helps inform a lot of the Oil's appeal both on record and on screen - particularly in the latter half of Clarke's extended fan-service.

While a chunk is devoted to his failed foray into politics, it's perhaps disheartening to see other band members ignored during this sabbatical other than to toss a cursory mention of their side surf band project. Strains on families are mentioned as a byproduct of relentless touring but none of them appear on screen. There's a feeling that you get to know the band's output, rather than the band itself.

Admittedly these are minor quibbles , footnotes in a doco that benefits from insight from the band themselves interlaid over footage in studios, photos or period detail from Australia's past. The extent of the archive is vast and the assemblage of it is taut, its flow never constricted over 105 minutes of what could easily have been a greatest hits package.

The political undercurrent is there and the bands detour into the Outback's remotest parts in 1986 which saw them galvanized by aboriginal mistreatment is given the reverence and respect it deserves - before the group's core DNA is permanently and irrevocably changed.

Perhaps another film would assuage more to form a narrative bent but Clarke wisely uses the power of the band's sound and discography to pull together a doco that's rich, compelling and toetappingly good - just as long as you're already a fan and don't want to know much about the other main players in the troupe.

This film is playing as part of the 2024 Whanau Marama New Zealand International Film Festival. For more details, visit nziff.co.nz

A Mistake: Movie Review

Cast: Elizabeth Banks, Simon McBurney, Mickey Sumner, Joel Tobeck, Richard Crouchley, Rena Owen
Director: Christina Jeffs

Sunshine Cleaning's director Christine Jeffs' sombre tale A Mistake boasts some truly outstanding performances, chiefly Banks and McBurney that make for compelling viewing in an otherwise ordinary drama.

Banks stars as Elizabeth Taylor, a doctor who pushes her team during a surgery that goes wrong. Ordering her trainee registrar Richard (Crouchley) to "Give it some welly" when inserting an instrument sets off a catastrophic chain of events that nobody really seems in control of, but everyone wants to take charge of as the story plays out.

But little is surprising in this tautly pulled-together drama that wants to equate personal accountability with public transparency over hospital patients' treatments. Adapted from Carl Shuker's book of the same name, Banks reminds us once again that she's capable of great drama performances with this slightly-clipped British doctor who appears to be reciting a mantra that everything will be all right to those around her, as everything in her own personal orbit falls apart.

She gives the kind of performance you can't take your eyes off - and her sparring with Rev's McBurney is truly impressive, even if the script gifts him an almost-stereotyped male bureaucrat who once had ideals but now is espousing what's best for the system, rather than those caught in and around it. McBurney makes great fist of minor character moments, before the script compels him to deliver some clunkers.

Perhaps more interesting is Jeffs' B-roll and scene progressions - from the murk of the waters that Taylor transgresses every day on her ferry ride to work to the gradually descending mist of the vistas of Auckland, the cinematography lays bare the mindset of the piece where the more basic storytelling fails to deliver.

Ultimately worth watching for Banks' gradually crumbling demeanour, A Mistake isn't quite the superlative drama it promises to be - but nor is it a complete mistake to watch either. 

This film is playing as part of the 2024 Whanau Marama New Zealand International Film Festival. For more details, visit nziff.co.nz

Humanist Vampire Seeking Consenting Suicidal Person: Movie Review

Cast: Sara Montpetit, Félix-Antoine Bénard, Steve Laplante, Sophie Cadieux, Noémie O’Farrell
Director: Ariane Louis-Seize

Mixing hipster vibes and vampire lore, Humanist Vampire Seeking Consenting Suicidal Person proffers a slice of cool cinema, that's perhaps a little too relaxed in its execution.

It's the tale of sensitive teenage vampire Sasha (Montpetit), who, traumatised after the family slaughter of a clown ordered for her birthday, is struggling to adjust to her lifestyle. Instead of chomping down on hapless victims, Sasha prefers to suck her sustenance from bloodbags - much to the frustration of her mother.

Sent away to live with her cousin (O'Farrell) as a sharp shock to the system and to help her get over the compassion she feels for dying animals, Sasha forms a bond with Paul (Bénard), a depressed teen who's planning his own death.

As she helps him edge closer to his mortal end, Sasha finds herself embracing a new life through Paul - and helping him live out his dying wishes - something which pushes her desire to help him to breaking point.

Pushing quirk and aesthetics above all else, Humanist Vampire Seeking Consenting Suicidal Person spends a little too long revelling in its oddness and not enough time building the depth of poignancy that it so clearly wants to achieve.

Montpetit is great as Sasha, imbuing her character with the teenage angst and outsider-vibe than many feel, helping her double down on her ostracism from life and the lifestyle of her family. But Benard simply gives his Paul nothing more than wide eyes and a kind of simpering vibe that doesn't help his case or his character.

That's not to say there aren't laughs from unexpected places within Humanist Vampire Seeking Consenting Suicidal Person; but they come from minor moments rather than a script that feels polished.

More successful perhaps is the overall execution of Humanist Vampire Seeking Consenting Suicidal Person. From a sweet and aching tone to some impressively-lit and staged scenes, the film's more about a swoon-worthy vibe in places than a deep narrative engagement.

It has charm aplenty and a lead actor to die for, but it's not quite enough to ensure this vampire tale is one for all eternity.

This film is playing as part of the 2024 Whanau Marama New Zealand International Film Festival. For more details, visit nziff.co.nz

Alien Weaponry: Kua Tupu Te Ara: Movie Review

Director: Kent Belcher

Filmed over years of heavy metal band Alien Weaponry's young life, director Kent Belcher's documentary digs into their past, but not deeply enough to feel like it's vital viewing.

To the uninitiated, Alien Weaponry are brothers Henry and Lewis de Jong, a pair of brothers, who have been singing heavy metal in the Māori language since the group's formation in 2010. From early appearances at New Zealand competition Rockquest through to headlining European festivals, Belcher's piece - along with footage from the boys' parents - builds a portrait of a group that passionately believes in itself and its message of keeping the indigenous language going.

But at no point during Alien Weaponry: Kua Tupu Te Ara is it ever fully expanded on why the brothers were so resolute to write and produce music in this way. It's a given for them probably due to background and parenting, yet when assumptions have to be made in a documentary it's frustrating.

Equally frustrating is Belcher's desire to avoid the conflicts within the group and the more emotional moments that would have resonance outside of these shores. The ramifications of a serious cancellation of one of the group's biggest ever concerts are simply tossed aside as a dramatic moment and sidelined with a months later catch up with the group before they head to Europe for a tour. (Equally Covid complications over recording are simply notched up as a petulant moment for a teenager having a tantrum).

It's baffling to see and while it may go against Belcher's desire to present a very chilled-out documentary, it does speak volumes as to why this movie possibly won't go any further than these shores - or within the band's extensive fanbase.

That's not to say Henry and Lewis don't make for watchable bedfellows throughout. Indeed, there's something heartening and inspiring for youngsters to see those who have the belief and passion are rewarded on a global scale - and certainly the message to others is a commendable one.

It's just that Alien Weaponry: Kua Tupu Te Ara clearly doesn't quite have the passion for a full-length documentary, or enough desire to commit to the warts'n'all approach needed. It may have insights from the likes of Lamb of God's head, and it may be the boys are too young as a group to have endless conflict, but Belcher's piece, while well-intentioned and handsomely-helmed, unfortunately lacks the kick and hook of a truly great doco.

This film is playing as part of the 2024 Whanau Marama New Zealand International Film Festival. For more details, visit nziff.co.nz

Borderlands: Movie Review

Cast: Cate Blanchett, Jack Black, Kevin Hart, Ariana Greenblatt, Jamie Lee Curtis, Florian Munteanu, Gina Gershon
Director: Eli Roth

It's easy to see why the Borderlands movie has been so widely mocked.

It's the paper-thin story of a mercenary Lilith (played with ennui by Blanchett) who takes on the job of tracking down Tina (Greenblatt), the errant daughter of the owner of the Atlas corporation (Ramirez) at his request.

But when Lilith heads to the planet Pandora, she finds Tina is in the company of Roland (Hart) and Krieg (Munteanu) and determined to stop Tina falling back into the wrong hands.

Essentially true to the 2K game's aesthetics, much of Borderlands feels like it's reverential to its origins - and even Blanchett is having a blast as the flame-haired sharpshooter as she moves from one encounter to the next. Even Black's OTT hyperactive delivery as Claptrap, the robot more likely to shoot its mouth than a gun follows the game's roots.

However, where Borderlands the movie falls short is in a little of its dynamics and narrative.

Granted not every video game adaptation should be The Last Of Us grime and grit, but a lack of chemistry and depth within the team doesn't help matters.

Hart's soldier and Munteanu's beefed up wrestler type are reduced to mere stereotypes and one-liners - it's never entirely clear why Roland has taken on this quest to protect Tina from Atlas - and as the film continues, it becomes a regular frustration in among the bloodless gun-slinging and destruction just how surface level some of the main characters are.

More successful is Blanchett's gunslinger-for-hire who absorbs the wearied approach of her character and clearly has fun playing the basic part to the hilt.

It's perhaps maddening that Borderlands doesn't hit more of the highs than it should - it's frustrating to think the ragtag group of misfits would be compared to Guardians of the Galaxy's group (and the film's more acceptable behaviour) - but in truth, it's a comparison it brings upon itself with thanks to feeling underdeveloped for a 100 minute CGI-led escapade.

But Borderlands isn't as bad as they'd have you say - with its adherence to its game roots and its execution thereof, it feels like the perfect adaptation. However, it falls apart as you realise what it could have been if the script and the characters had been a little more polished and rounded.

I Saw the TV Glow: Movie Review

Cast: Justice Smith, Brigette Lundy-Paine, Ian Foreman, Helena Howard, Fred Durst, Danielle Deadwyler
Director: Jane Schoenbrun

I Saw The TV Glow will be familiar to many who coveted fantasy TV shows in the 90s when major television networks chose to bury them in their schedules or move them around willy-nilly.

Centring on Justice Smith's Owen in 1998 mid-America, it's the story of a lost boy who finds his passion from a friend Maddy (Lundy-Paine) recommending him a fantasy TV show called The Pink Opaque. As this pop-culture obsession grows, Owen's connection with his friend is strengthened, but it's brutally severed when Maddy goes missing.

I Saw The TV Glow is an almost solipsistic film that lives in woozier aesthetics and revels in its opaque nature. Centring on Owen's quest to discover himself - from teenage dreams to sexual connections and identity quests, Schoenbrun's movie is deliberately vague in parts and frustratingly so at times.

Smith is excellent throughout though, imbuing his Owen with a sense of disassociation as he tries to find his place in everything. Alienation is threaded throughout - whether it's his connection with his mother, his friendship with Maddy or his obsession with The Pink Opaque fed to him by Maddy early on, Owen is not quite 100% on board with it all.

But I Saw The TV Glow won't be for everyone - despite a sly nod to Buffy / Angel in the most subtle of ways, Schoenbrun's movie is too obtuse for a wider audience connection. Perhaps there's an irony that a film about a cult obsession may well be destined for such a future itself.

The slow-burn pacing pushes audiences to the edge, and while there's a subtext about trans-identity, I Saw The TV Glow isn't horror in the traditional sense, despite being pushed so. It's a curious experience, and one worth watching - but perhaps for not everyone, this TV may not glow as brightly as was intended.

This film is playing as part of the 2024 Whanau Marama New Zealand International Film Festival. For more details, visit nziff.co.nz

Alien: Romulus: Movie Review 

Cast: Cailee Spaeny, David Johnson, Isabela Merced 

Director: Fede Alvarez  

Mixing extreme fan service and Don't Breathe director Alvarez's penchant for horror, the latest Alien outing (the ninth in the franchise) tries to mix things up. 

Set in between Alien and Aliens after the crew of the Nostromo discovered the Xenomorph, Alien: Romulus pits a young crew of would-be escapees from the grips of the Weyland Yutani mining corporation. 

But stumbling headfirst into a get-rich-quick scheme on a seemingly abandoned space station, the group soon finds themselves in a desperate fight for survival - both from the Alien creature and the company's machinations. 

Alien: Romulus succeeds in ratcheting up tension thanks to a combination of a slow build first 40 minutes and a sparse soundtrack, before unleashing the familiar chest-bursting, alien screaming, acid killing spree that usually accompanies these films. 

Extremely reminiscent of the franchise so far, Alvarez's penchant for pithy jump scares and Easter eggs permeates much of the proceedings of the film, despite the actual film feeling in large parts like an extension of the 2014 computer game Alien: Isolation and its space station setting. 

But if the nods to the past become obvious in the final stretch, which houses scenes directly replicating key moments and crowd-pleasing language from the original films, non-fans won't really notice the difference as most of the reference points feel organic rather than gratuitously shoehorned in. 

Perhaps more successful is Alvarez's world-building. 

From practical sets that echo the original 1970s look of Alien to a clever use of silence throughout the film, the atmospheric mood of Alien: Romulus is the most successful part of the movie. 

The grime on the ground and the seemingly corroded and corrupted look of the space station and its corridors all ring true throughout. 

 Equally, whilst it's only a team of six core actors (as well as one person cleverly hidden from trailers), there are some stand-outs among the Alien-killing fodder. (Though it has to be said some of them feel so broadly written that it's hard to care when they're dispatched.) 

 Civil War's Cailee Spaeny and Industry's David Johnson are excellent as a brother and sister who hold the key to the group's chance to escape. 

The latter (for reasons too spoilery to discuss in reviews) manages to do something different with the character he plays - and is more than impressive and expressive throughout. Spaeny has Sigourney Weaver levels of pluck and brains throughout (something Alvarez is keen to exploit in sequences where she actually looks like a young Ripley, right down to the clothing) - but despite a reverence to the original character, she manages to bring something different to the role, even if the script and ambition does not. 

 However, while a messy final third act plays a little too fast and loose when taking an almighty narrative and mythology swing, there are some visual pleasures that impress - particularly a zero gravity attempted escape. 

 Perhaps that's some of the rub with Alien: Romulus - it manages to embrace its past and exploit the franchise for good measure, rejuvenating it as a greatest hits for a new generation. 

But for true fans of the Alien franchise which has endured nearly 50 years' worth of terror, it's impressive yet it doesn't quite feel like the kickstart of a new terror that may last another 50 years.