Final Destination: Bloodlines: Movie Review

Cast: Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Anna Lore, Brec Bassinger, Tony Todd
Director: Zach Lipovsky

The sixth Final Destination movie arrives with an intriguing premise - what if Death was delayed in his machinations and as a result of that delay, new bloodlines were created, ultimately gifting the Grim Reaper a new set of victims?

In a mightily impressive opening set piece, Iris Campbell (Bassinger) accompanies her boyfriend to the grand opening of the SkyView Tower, set hundreds of metres in the sky. A once in a lifetime opportunity, this turns into a nightmare when a series of coincidences brought on by just a penny leads to the whole structure being brought down and hundreds of people being killed.

Only it turns out it's Iris' premonition and she manages to save them all - but fast forward decades and suddenly Steffi (Juana) and her extended family are back in the eye of the Reaper's scythe.

While much of Final Destination: Bloodlines is concerned with overly used exposition and lots of Steffi convincing others they're going to die and they really do need to listen to her, it also brings an inordinate amount of well-executed "coincidental" kills in keeping with the previous films' methods.

But perhaps at some point, the kills start to feel perfunctory and certainly ones toward the end frustratingly just feel like the filmmakers thumbing their nose at the audience.

Yet with moments that work well, the film manages to sit on the right side of the ledger, giving creativity to how they're executed (pun intended). And while some of the CGI falters a little in parts, this solid blockbuster slice and dice of entertainment proves to be a good night for a group outing.

Most of the cast are suitable enough for their roles, with Harmon the standout as the cynical family member unwilling to buy in to Steffi's claims. 

Yet it's Tony Todd's bittersweet cameo in the film that provides the most poignancy, with a speech that will no doubt go viral given his sad demise. The film franchise does him justice, and it's certainly going to be worse off without him.

Ultimately, Final Destination: Bloodlines is the right mix of schlock and awe - even if the logic of Death's machinations becomes blurred because it doesn't suit the narrative. It's a bloody entertaining night of forgettable Final Destination fare, packed with Easter Eggs for franchise fans and horror nuts.

Gladiator II: Blu Ray Review

Cast: Paul Mescal, Denzel Washington, Joseph Quinn, Tim McInnery, Connie Nielsen
Director: Ridley Scott

It was always going to be a tricky proposition to follow 2000's Gladiator.

From its iconic action to a star-making turn from Russell Crowe as the lead to singular moments that have lasted, the idea of a sequel was perhaps always a little stymied before it made it to the screen.

So it's no surprise to say that while director Ridley Scott builds on the kind of vision more recently witnessed in Napoleon than perhaps on his 2000 effort, Gladiator II is lacking a little heft in the shadow of its own past.

When Paul Mescal's Lucius is captured after Rome's army sacks his North African province and kills his wife, he vows revenge on General Marcus Acacius (Pascal). But Lucius has to escape the confines of his jail via the Colosseum and the hordes of challengers facing him.

From CGI killer monkeys to a water-filled stadium teeming with sharks, it seems like the script of Gladiator II has gone too far the other way for its spectacle, losing sight of the level of intimacy that helped propel the first to iconic status.

Juggling a story about the corruption and fall of Rome along with the political machinations of Denzel Washington's Macrinus as well as destiny and heritage, Scott had a rich vein to mine. Yet somehow, the script fails to service the legacy while simultaneously failing to carve out a new story that measures up.

Mescal also inevitably suffers in comparison to Crowe, reduced to seething moments of rage without the bonus of well-written dialogue to support him. It was always going to be a tricky idea, but it's largely the fault of the script that Gladiator II won't rise from the shadows.

In terms of the Colosseum spectacle, the games lack none of the brutality of the past, even if the emotional edges fail to match up. It's more in keeping of reality, given how swift the action is and how quickly enemies are dispatched - but it does nothing to satiate those looking for vicarious pleasures to match the weaker edges.

The first film talked repeatedly of what was being done echoing in eternity.

But unfortunately, Gladiator II fails to even break free of the former's shadow - and while it's a perfectly serviceable, if overly long watch in parts, it can't help but feel disappointing.

Sonic The Hedgehog 3:Blu Ray Review

Cast: Ben Schwartz, Keanu Reeves, Idris Elba, Jim Carrey, Lee Majdoub, James Marsden, Kristen Ritter,Tika Sumpter
Director: Jeff Fowler

The latest Sonic movie is at times akin to an overstuffed family gathering.

From the trio of Team Sonic (Knuckles, Tails, and the blue Blur himself) to two Dr Robotniks (played with meta touches by Carrey) and the inclusion of Keanu Reeves' troubled hedgehog nemesis Shadow, there's a lot going on.

Add in the human elements of James Marsden and Tika Sumpter as Sonic's defacto human family, the return of agency GUN and the brilliant Lee Majdoub as Agent Stone, Robotnik's long-suffering lackey, and it's no wonder the beginning third of the film feels like an overload of hyperactive exposition and high speed chicanery.

But when this tale settles down into its planned execution, the amalgamation of Shadow's past contrasted with Sonic's upbringing and the simple message of "Make good choices", the film's more impressive thanks to the chance to breathe and take it all in.

In truth, Schwartz's Sonic borders on the irritating this time around, a series of continual quips undone by a seconds later obvious gag / punchline depriving much of the movie of oxygen. Elba's deadpan hilarity as Knuckles' literal translation of situations playing out never loses its comedy timing and Reeves imbues Shadow, the hedgehog from the wrong side of town, with a sense of both tragedy and emotion throughout.

Carrey's back to nonsensical form and the script peppers his arc with quips catering to his manic edge with ease - some of the best laughs come from his gurning and insanity, in moves that feel distinctly reminiscent of Ace Ventura. It's a welcome return to form for the more maniacal comic who made his name early in the 90s.

Yet the true star of Sonic The Hedgehog 3 is actually the visual FX team, who've ensured every single frame of the obvious green-screenery unfolding feels naturalistic and as real as a practical set.

It's no mean feat as much of the script relies on the Team Sonic's trio speeding through scenery, or being up above earth. Every single second of every little FX feels vital, tangible and utterly incredible to behold.

Sonic The Hedgehog 3 may be as fleeting a film as any on offer this holiday season and offer some vicarious pleasures, it won't be judged as a timeless classic of its genre even though it's fun and more cohesive than the rest - but what is timeless within it is the tireless work of those bringing the world to life and ensuring it doesn't look dated in years to come.

Days Gone By Remastered: PS5 Review

Days Gone By Remastered: PS5 Review

Developed by Bend Studio
Published by Sony Interactive Entertainment
Platform: PS5

Back in 2019, Days Gone By was dismissed by many as a game that did what has been done before, and what emerges in the final wash, was a game that somehow lacks its own USP, despite looking mightily impressive and using a dynamic weather system to gaming advantage.

However, there are moments of open world survival game Days Gone where the mash up of Last Of Us survival and stealth, Walking Dead style zombies and camp complications, Sons of Anarchy bromance of the lead and his best mate and Far Cry series of camps and missions actually feels like it gels into something cohesive - even if it does fully lack some of the emotional heft of the great singleplayer PlayStation titles.

Beginning with the protagonist, Deacon St John, the game starts two years before you begin, showing how society began to crumble as a mysterious infection swept through America.

St John's beau, Sarah, is stabbed by accident, and his co-gang rider Boozer is seriously injured, leaving Deeks to make an awful choice - and one that haunts him in the two years when we rejoin the game. Most of the game is about finding a reason, a reason to survive, a reason to continue and a reason to hope.

Still riding around the wilds of the Northwest, this outlaw is a loner, spending days scavenging scrap avoiding the Freakers (a zombie-style nasty) and what's left of the dregs of humanity (the human animalistic Rippers, roaming marauders and those in charge of running various safe houses).

But Deacon finds himself smack bang in the middle of humanity's best and worst again as he discovers not everything he thought he knew was true.

While Days Gone stumbles through its opening chapters, with some truly awful dialogue (chiefly between Deacon and his biker buddy Boozer and sounding like Kiefer Sutherland rejected them from episodes of 24) and interactions, some implausibly long loading screens, there are moments when the game manages to rise above its shakier edges, long loading screens and the repetitive nature of the fetch and retrieve missions.

Aside from the weapons and crafting, the Red Dead Redemption style need to ensure your bike's always in top notch form and fuelled up, the Last Of Us options to customise melee weapons and your own bike, and the back and forth between camps, the game's internal logic cannot be faulted.

Amid the all-too-familiar conspiracy which emerges, and the inevitable tropes of the research facilities which lie scattered around the world, the Freakers are a truly terrifying enemy, something akin to perhaps some of the greatest zombies committed to a game.

Singularly, they can be dispatched with melee combat - but as a group, they're nigh on undefeatable.

Several missions see you needing to infiltrate research facilities to access various health benefits - but as these have lain dormant and unpowered for the 730-plus days since the outbreak, it's up to you to find the resources to get into them.

But giving them power fires up the automated messages which blare out from speakers and across the countryside, attracting more creatures and limiting your chances of survival. In one such mission, I neglected to turn off a speaker and thinking nothing of it, having got what I needed, I ran. But driving through later on, the sound had attracted an utterly insurmountable horde that could not be defeated - this is a world that carries on even if you're nowhere around.

With the Mad Max style Ripper gang waiting to pick you off, there's a great deal of uncertainty in the countryside, and with a soundtrack that ripples with unease, the mood created by Bend Studio is palpable.

The game looks great, and the handling of the biking is solid too, which is a plus, given how much time you spend on the road.

Littered with flashbacks, Days Gone finds its emotional core, but to be frank, it's weaker when compared to the litany of what's already passed in terms of gaming narratives. Occasionally, the review build stuttered with the scope of what the open world was trying to present, and has frozen, but hopefully early patches should remove the niggles here and there.

Ultimately, Days Gone is a solid PlayStation exclusive, that sadly, despite all of its efforts and outside of the biker element, struggles to find its own voice.

It's not the best the platform's ever had, but it's not the worst either. It does recall large swathes of The Last Of Us, and it is perhaps a pity that it never fully emerges with a strong independent voice of its own - no matter how beautiful it looks.

It does, however, muddy the waters of survivalist games a little, making every side you encounter feeling like they have something to hide - and if the familiarity comes because of a genre which is crowded, Days Gone is a worthy contribution to the pantheon. And while it lacked a stronger voice at the time, its 2025 spit and polish looks better than you'd think.

Graphically there's a few more details in the Freakers that make them stand out a little more. But you're unlikely to see as much of that in the Hordes Assault mode when you're hurtling away from them. However, the remastered version offers up a series of challenge levels which are fun and enjoyable.

Ultimately for the small price the upgrade costs and given Bend Studio is trying to revive its Days Gone IP with a new movie, this is a welcome chance to dive back into a flawed game that somehow just fell short of the greatness it deserved.

Doom: The Dark Ages: Review

Developed by id
Published by Bethesda
Platform: PS5

Touted as a new evolution of Doom rather than just simply scrolling through tunnels and shooting, Doom: The Dark Ages is about as medieval as it comes.

But with developers id promising that there's an evolution in the game, "a core pillar of their studio", don't be expecting a repeat of Doom or Doom: Eternal.

However, how you may feel about this new evolution of it though largely depends on how accepting you are of change and adaption.

In truth, Doom: The Dark Ages, which serves as a prequel to 2016's Doom as it follows the rise of the Doom Slayer and his quest to vanquish the legions of Hell, is a fairly solid and enjoyably fun romp through what makes the franchise so eternally popular - shooting things, exploring tunnels and being jump-scared when something unexpectedly shows.

Taking the previous games' run and gun mentality and gifting you early on with a shield, blessed with buzzsaws, that can be hurled at victims and stop them in their tracks, the game's commitment to action is more about handling a wide variety of oncoming masses and then basically obliterating them.

At times, it feels like an Iron Maiden cover writ large upon a video game world as the hordes descend on you. But in truth, the game's commitment to giving you a way to survive (certainly in its earlier levels and on its lower difficulty setting) means that it's actually wanting any player to pick up a controller and build their way up to being a brutal badass. Whether that's a good thing for a franchise that's been about toughness is another big question.

How you'll feel about that depends on how much of a Doom purist you are.

But using the shield to repel attacks back on those who've dished them out or shooting a row of shield-bearing bad guys and then firing the shield into them to cause them to explode, showering you in items and limbs, represents a solid step up from the days of point and click for the game's very first iteration. It's also undeniably fun - albeit a mechanic that doesn't evolve.

Plus add into the mix the fact you can swing around parts of the map by hurling your shield, and it soon becomes a vital addition to the armaments to aid on your journey. Throw in some puzzles and the Doom ideology has somehow expanded beyond its basics.

And you have to admire a game that delivers a weapon that takes skulls, processes them and spits them out as deadly bullets. Plus, even the weapons sound like Iron Maiden B-sides.

But it's not all positive.

It has to be said the hordes feel largely nondescript in their design and while the game's not really about standing around and admiring the scenery, there are numerous moments when the well-presented, but ultimately amorphous, bullet sponges simply feel like they're cannon-fodder, rather than memorable bad guys writ large over 22 levels.

Upgrading is simple too - just collect gold and trade it to improve your weapons and skills. It's here the game's maps come into play as you head around hidden areas to collect rewards for surviving ambushes.

While the game's set in a techno medieval background, the ability to get inside a Mecha Slayer and deliver some Kaiju-sized chaos isn't as good as it sounds - and may be one of the evolutions from id that will polarise players used to be ground-based.

In truth, this first outing in the Mecha-Slayer's underwhelming. It's not a chance to wreak chaos on a sandbox scale and the frustration of the game guiding you only to areas where you can Hulk-smash and shoot those attacking you isn't as great as it may sound. While it comes with a larger weapon to help you piece apart Atlan invaders, the Mecha-Slayer feels like a slightly retrograde element in the game, something akin to being inside a Pacific Rim or Transformer as they bring the Bayhem.

Graphically, the game looks pretty - which may sound trite, but it's not.

Its palette and aesthetics may not be as colourful as prior outings, but the darker edges and dull colours certainly bring the medieval setting on a hellscape to life. Limbs splatter, blood flies everywhere - it's not the stuff of nightmares perhaps, but it's solidly executed and looks the part. But the castle buildings pop with precision and menace.

If anything, Doom: The Dark Ages may well come under fire for not quite doing enough and radically going all in with changes (though you'd have a strong argument to say that's not really what its core base wants). 

It certainly brings the bloody bullet-based mayhem that fans would want - and the fun gore the franchise craves.

Doctor Who: The Story and the Engine: Review

The fifth episode of the second season of Ncuti Gatwa's Doctor heads to Lagos where the mysterious Barber reigns supreme.

Still trying to get Belinda home, the Doctor decides Nigeria is the best place to pick up a better signal to help - and while briefly landing there, convinces Belinda that he needs to go to the local barbershop where he's been accepted before.

However, when he heads to the shop, he finds his old friends trapped and a mysterious new Barber in charge of running the show...

There's an inherent story here about culture and the place of oration that lends itself to the Doctor Who mythos. New writer Inua Ellams immediately imbues the show with a sense of place that it's never had before while on Earth - from the vibrancy of the market through to the colourful outfits, this is a culture serve that Doctor Who has previously missed.

And the Doctor's acknowledgement of how humanity treats him now through racism is poignant too - a sad reminder that the world's greatest protector is also the one who can be hurt the most.

While there are Easter eggs thrown in for fans of the show, the story itself feels a little tantalisingly underdeveloped in parts, a chamber piece that relies too much on its own mystery to develop too far too quickly, The concept of the barbershop as a community hub for African-Americans is not a new one, but the novel twist The Story and the Engine gives it feels more wanting than it should.

Yet there is a feeling there's a richness here that's worth deeper introspection, an examination of the power of stories, of the way they connect people and the strands they weave deep within us. Perhaps the final episodes of this run will add more potency to what's transpired here - because the wider story of the relevance of the Spider and the Barber's connection is not quite as strong as the episode would want us to believe.

Midnight Murder Club: PS5 Review

Developed by Velan Studios
Published by Sony Interactive
Platform: PS5

The idea of running around and shooting people is inherent to the gaming world.

Whether it's part of the comical Ratchet and Clank series or more serious fare like Call of Duty, the shooter has been the go-to genre for many a year.

But while the idea of keeping shooter games fresh is always tricky, the team at Velan Studios have taken a pinch of inspiration from 2016's Until Dawn VR shooter Rush of Blood and come up with something that's definitely got a more 2025 appeal.

In Midnight Murder Club, up to six friends can hunt each other in the pitch-black rooms of the mysterious Wormwood Manor. Armed with only a revolver and a flashlight, it's up to them to search the shadows for every flicker of light and every bump in the night as they stalk their prey.

It's a simple enough premise and while the Early Access release makes good use of one single location, it proves to be good fun with friends and family. While in truth the single location does grate after a few hours of solid gameplay, the scope for much more here is clearly marked - and not just with a bullseye on its back.

With game modes like Free-For-All where it's one against six or Team Deathmatch where you team up with another player to go crazy and stalk, the simple enough idea is strongly executed. With power ups available from machines scattered around the mansion the game has plenty of promise for fun and shenanigans.

With a lack of a map and only the flicker of other lights to hunt out other players, it's really a game of reflex and wits, which are no bad thing. In truth, the game's better with friends, though the bots from the BETA make for strong enough comrades, even if the AI runs off and leaves you when you're wounded, giving you scant chance to catch up for a revival.

Impressively fun and with a planned roadmap, Midnight Murder Club has its finger squarely on the trigger of gaming - and it more than achieves what it wants to do. Hopefully, there'll be more from it soon.

The Salt Path: Movie Review

Cast: Jason Isaacs, Gillian Anderson, Hermione Norris, James Lance
Director: Marianne Elliott

The road to personal redemption is a well-worn cliché in movies about travellers, whether they're solo or with others.

The Salt Path is in many ways no exception to the rule, but what it does do in this two hour film by Marianne Elliott is have you engage deeply with its two protagonists – even if very little actually happens throughout in terms of narrative.

But another cliché – that it's about the journey, not the destination – also proves to be pertinent here.

The White Lotus' Jason Isaacs and The X-Files Gillian Anderson play married couple Moth and Raynor, who, as the film begins, are caught in waters overwhelming their tent and scrabbling desperately to safety. While the film's in no immediate hurry to reveal the reason for this would-be disaster until its last 30 minutes is indicative of what Elliott and her understated cast are upto here.

The pair have decided to walk the UK's longest National Trail, the South West Coast Path for reasons that come throughout the film. It's not to spoil them here, merely that revealing their reasons for doing so thwarts the somewhat minimalist drama on display throughout.

As they walk, Moth with his foot dragging behind him, they seem woefully underprepared for the magnitude of what lies ahead. But what transpires on the route is the traditional kindness of strangers, forced through interactions with those along the way.

Elliott's film spends large swathes of time taking in the atmospherics of the trail. Whether it's the howling winds, the squawking birds or the beleaguered grunts of those unhappy at them pitching their tent anywhere they want, the soundtrack's naturalistic edges prove to be deeply immersive.

And Isaacs and Anderson are both at their muted best, with moments of connection provided by minimal, yet universally recognisable, interactions. These are not showy performances, with actors playing to the winds and wilds and overdramatising their moments. This is a film that's about the small moments of life, the brief connections along the way.

Don't expect a drama that builds deep worlds outside of Moth and Raynor (even if the book the film's based on did), this is a quiet film that packs a resonance that grows with time spent with the pair and their unfolding story.

Grand Theft Auto VI reveals new trailer, more details

Grand Theft Auto VI reveals new trailer

After the reveal of the Grand Theft Auto VI release date being in 2026, Rockstar Games have followed up the release window with a brand-new trailer looking at the world of GTA VI - and a return to Vice City.

Jason and Lucia have always known the deck is stacked against them. 

But when an easy score goes wrong, they find themselves on the darkest side of the sunniest place in America, in the middle of a criminal conspiracy stretching across the state of Leonida — forced to rely on each other more than ever if they want to make it out alive.

A Complete Unknown: Disney+ Movie Review

Cast: Timothee Chalamet, Elle Fanning, Edward Norton, Scoot McNairy, Monica Barbaro, Boyd Holbrook

Director: James Mangold

Perhaps it's best to not go to A Complete Unknown expecting an immersive and in-depth examination of Bob Dylan and what exactly made him tick.

In fact, Logan director James Mangold's film is more interested in those who orbit around the mumbling maestro and the impact his gravity had upon them. It's an intriguing compromise for a film that emotionally feels like it has a few beats missing.

Beginning in 1961, it tells the story of a young Bob Dylan (a mumbling and eyes-half-closed Chalamet) heading to New York City to see his hospitalised hero Woody Guthrie (McNairy, in a near mute role).

Finding fellow musician and evangelical folk lover Pete Seeger (Norton, in a warm, humane turn that makes you wish there were more of him) at the hospital caring for Guthrie, the pair strike up a friendship, and Seeger mentors Dylan into the local folk scene.

Success comes quickly for Dylan thanks to a combination of talent and turbulent times that crystallise his appeal. But soon Dylan's tempestuous edges come out and he longs to move away from the folk music that he feels has defined him but is also holding him back.

Based on the 2015 book Dylan Goes Electric! from Elijah Wald, there's much to be said for the cast's ability to inhabit the roles - rather than simply imitate them. But the film's script at times demands too many narrative jumps and doesn't really get into the core of Dylan himself - an idea that perhaps was never on the table. 

However, the film's less interested and labels Dylan unapologetically "an asshole" thanks to character assessments and assassinations. It's perhaps welcome that he remains an enigma and that a different film about Dylan still demands to be made.

Equally, Elle Fanning's turn as the apparent first love of his life in New York initially promises to make her more of a presence in proceedings, before dimming her light and casting her more as a shrew and an emotionally rejected presence.

Yet what A Complete Unknown does bring to the table is a chance to enliven Dylan's music. Perhaps if more had been thrown into the conflict he faced over choosing to go electric instead of staying with folk rather than making him seem like a sullen, stroppy, floppy-haired kid, then Mangold's movie would have been excellent fare. As a result, Chalamet gets the space to breathe and the chance to shamble from one iconic moment to the next - but as no doubt the Oscars come knocking, there's no denying his on-screen presence and commitment.

As it is, it's perfectly enjoyable, at times, utterly electrifying with music sequences by all the main talent leaping from the big screen - even if the aloof and uncertain nature of parts of the story threatens to derail Dylan's appeal and legacy.

Paddington in Peru: Blu Ray Review

Cast: Ben Whishaw, Hugh Bonneville, Emily Mortimer, Antonio Banderas, Olivia Colman
Director: Dougal Wilson

It's easy to cynically dismiss the latest Paddington film.

A movie that at its heart is swathed in unbowed cynicism and eternal optimism, Paddington has always been a ray of cinematic sunshine about the good-natured bear winning over the villains of the piece. This latest is no exception to the rule - and even manages to throw in a parody of the Sound of Music and an Alien homage as well.

When Paddington hears his beloved Aunt Lucy has disappeared from the retirement home she lives in in Peru, he sets out with the Brown family to find out what exactly has occurred.

With the thinnest of plots and the penchant purely for jungle-set interludes and excursion ahead, Paddington in Peru does not quite reach the lofty heights of the previous outings (though a deliciously unexpected ending utterly delights). But what it does do, is provide solidly entertaining family fare - as long as you're willing to forego the slower start to proceedings. 

With plenty of sight gags and mini sequences thrown in initially, Wilson's film reminds you of the slapstick nature of the bear before settling into something more akin to a BBC TV Christmas special where the normally cosy family heads to foreign climes.

But with scene-stealing appearances from Colman as the smiling and seemingly sinister Reverend Mother and a scenery chewing outing from Banderas as the Captain of a boat tormented by his ancestors, there's much to enjoy throughout once you get past the endurance of the earlier stages.

In amongst it all though is Whishaw as Paddington - a vocal performance that's as comforting as the fur that flowers all over Michael Bond's bear himself. Filled with warmth and heart, it's easy to see why this version of the infamous character has gained so much traction. 

And while there's plenty of strong arguments to say that this franchise probably needs resting now, and that the unbridled English cynicism about a bear whose dream to get a passport and travel to a world that doesn't necessarily want him has plenty of Brexit parallels and has a thumbing the nose to current political elements, it's hard to overlook the fact this slice of marmalade-led escapism has a cinematic syrupy goodness that's impossible to resist.   

JBL Unleashes Next Generation Flip 7 and Charge 6

Bolder designs and AI Sound Boost put audio centre stage

JBL’s next generation Flip 7 and Charge 6 portable bluetooth speakers have launched in New Zealand, with a bold new look and new audio features to deliver bigger sound, deeper bass and better performance. Built to improve on the listener experience, both speakers feature JBL’s proprietary AI Sound Boost technology to analyse music in real-time and optimise the speaker driver without distortion.

“The Flip and Charge series have always been popular in New Zealand, thanks to their ability to pump out big sound from a compact, ultra-portable and robust speaker design. In this latest iteration, we’ve packed in even more audio technology to give listeners a best-in-class sound experience. There are also some new design and connectivity features, such as Auracast, and new options for straps and carabiners, to make it easier to share and take your tunes with you on the go,” says Michael Sherman, Senior Strategy Manager at JBL New Zealand.

Whether you’re chilling in the garden or meeting up with friends at the park, the new Flip 7 has been redesigned with an interchangeable finger loop and carabiner hook making it easier to take your music anywhere. Equipped with AI Sound Boost for powerful bass without distortion and an upgraded tweeter with a dome design, Flip 7 offers clear and crisp sounds at higher volumes, no matter the setting.

Out and about? The new IP68 waterproof and dustproof rating makes it easier to carry your tunes with you, without worrying about spills or drops. Other new features include increased battery life for up to 16 hours with Playtime Boost, the latest Bluetooth 5.4 capabilities for improved wireless connectivity, and Auracast pairing with other JBL Auracast enabled speakers.

JBL Flip 7 Features

Bold JBL Pro Sound with AI Sound Boost

Qualified against Bluetooth® Core 5.4

Up to 16 hours of playtime with Playtime Boost

IP68-certified waterproof, dustproof and drop proof design

Multi-speaker connection via Auracast™ with JBL Auracast-enabled speakers

Built-in PushLock system with interchangeable carrying accessories

High-resolution lossless audio over USB-C connection

JBL Portable App

JBL Charge 6 Features

Bold JBL Pro Sound with AI Sound Boost

Qualified against Bluetooth® Core 5.4

Up to 28 hours of playtime with Playtime Boost

IP68-certified waterproof, dustproof and drop proof design

Multi-speaker connection via Auracast™ with JBL AuracastTM -enabled speakers

Detachable carrying strap with multiple configurations

High-resolution lossless audio over USB-C connection

JBL Portable App

The new JBL Flip 7 (RRP$199.95) and JBL Charge 6 (RRP$229.95) are available now from JBL.co.nz and PB Tech, JB Hi-Fi, Harvey Norman, Noel Leeming, The Warehouse, Smith City, Heathcotes, 2 Degrees, One NZ and Mighty Ape. Colour options include black, blue and red.

The Charge 6, now equipped with a detachable and versatile handle strap, has evolved to make high-quality audio more accessible than ever. With the introduction of AI Sound Boost and an upgraded woofer for deeper bass, prepare to feel the beat across any room. The introduction of Auracast allows friends to sync their compatible speakers for even more sound. Keep the party going for longer with up to 28 hours of battery when using Playtime Boost. Remaining true to the name, the speaker not only electrifies the dancefloor, but comes equipped with the built-in USB-C powerbank for charging devices at a moment’s notice.

Joker: Folie à Deux: Blu Ray Review

Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Harry Lawley

Director: Todd Phillips

Todd Phillips' return to the world of Joker is both a frustrating and stimulatingly disturbing experience.

Two years after Phoenix's Arthur Fleck went on a murder spree that culminated in an on-screen killing, he's still in Arkham State Hospital awaiting evaluation for trial.

Medicated and muted, Fleck's picked on and prodded by the institute's guards (chiefly Brendan Gleeson), his world is ignited when he meets Lady Gaga's Lee, a fellow inmate. Falling for her and imagining his life with her after he's finally committed to trial.

There's scant little plot in Joker: Folie à Deux, a film that's definitively a musical, less a superhero outing, and more a distorted take on a psyche splintering under its own weight. 

Drawn out over 2 and a quarter hours, Phillips is less interested in a manic Joker that's swirled up a world of support outside the bars, becoming a lightning rod for societal unease within Gotham. It plays well to the idea that Fleck's no criminal genius, more a nihilistic loser who's borderline dangerous for selfish reasons.

But with a strong premise, what pulls Joker: Folie à Deux aside is its reliance on music to tell the story, with Phoenix and Gaga breaking into song to unveil their emotions and while both fare well and have obvious pedigree in the genre, the constant reliance on this narrative trick drags the film's pace when it doesn't need to.

There's a dour tone penetrating Joker: Folie à Deux - and while that's no bad thing in parts, over the film's run time, it becomes stifling and claustrophobic. By centring solely on these two, Phillips confines the lense to their intense bond, but that leaves the rest of the movie lacking much else.

Essentially a drawn-out courtroom drama, Joker: Folie à Deux is an intriguing take on the mania of Fleck's condition, and Phoenix remains as mesmerising as before. There's a distinct impression the film could have been more daring, and is lacking an ignited powderkeg moment.

It's no laughing matter throughout, and while some may find it triggering and unsettling, others will conversely declare this return to Joker's world boring and dull. 

Doctor Who: Lucky Day: Review

The latest episode of Doctor Who sees Millie Gibson's Ruby Sunday returning to the Whoniverse.

And plunged deep into a new mystery thanks to a boyfriend, in the shape of Conrad Clark, a man whose life was changed when he met the Doctor and Belinda on New Year's Eve in 2007.

Clark (Jonah Hauer King) then spends years trying to find Ruby Sunday after seeing her walk into the TARDIS and disappear (in an adventure set after The Devil's Chord). So when she shows up on his doorstep a year later, as he's become a podcaster, it appears all his horses have come in - especially as the pair strike up a relationship....

But all is not as it seems after Ruby takes a trip to his home village to meet some friends...

One of the plus points of Lucky Day is how it subverts expectations and becomes something else halfway through its episode, a seemingly excoriating take on male belief and disinformation. (In some ways, the parallels to this series' first outing and its villain are clearly marked through).

Yet, it's also a Doctor-missing-in-action story with some mysterious hints about the future. And what it does show is how inherently dangerous and close to the edge Kate Lethbridge-Stewart can go when the Doctor is not around.

However, in among all of this is Millie Gibson's Ruby Sunday, a character who's started to realise she's not OK after her time in the TARDIS. While Doctor Who occasionally flirts with the idea of where the companions end up after their sojourns in time and space, this one overtly shows how heartbreakingly hard it can be and how the danger the Doctor brings with them can actually have long-term damage.

Ultimately, Lucky Day has some interesting things to say about denial, acceptance and belief - and by putting that concept out of the Doctor's reach for once, it becomes an intriguing proposition that offers some tantalising new ideas while continuing to skate along modern-day parallels.

Win tickets to see Mission: Impossible - The Final Reckoning in cinemas

To celebrate the release of Mission: Impossible - The Final Reckoning in cinemas from Saturday May 17, thanks to Paramount Pictures NZ, you can win a double pass!

About Mission: Impossible - The Final Reckoning

Mission: Impossible - The Final Reckoning stars Tom Cruise once again as Ethan Hunt.

IMF Agent Ethan Hunt is on his most dangerous mission yet, as he and his team try and stop Gabriel before he can obtain an AI program that can weaken the world's stability,

Mission: Impossible - The Final Reckoning is in cinemas from Saturday, May 17 - accept your mission and choose to go see it!

Another Simple Favor: Movie Review

Cast: Anna Kendrick, Blake Lively, Henry Golding, Alison Janney, Michele Morrone
Director: Paul Feig

The 2018 film A Simple Favor was a deliciously tart affair that revelled in its toxic friendship between Stephanie Smoulders (Kendrick) and Emily Nelson (Lively).

Seven years later, the sequel aims for more twists and turns and sidelines the relationship between the pair that so fuelled the first.

This time around, Stephanie is harangued into being Emily's maid of honour after her book about the original caper, The Faceless Blonde, fails to capture an audience. When Emily strolls in nonchalantly to a book signing, the wheels are set in motion for a reunion - and a showdown after murder visits the wedding in Italy.

Packed with twists and red herrings, Another Simple Favor isn't quite the escapade it wants to be, preferring instead to be a murder mystery with some deliciously dark family secrets.

As a result, the swings become wilder and more out there, and while Kendrick works with the comic timing and does excellently with what's thrown at her, much of the film sees her separated from Lively early on and the caper struggles to recover.

Despite some outrageously good fashion and some extremely cruel exchanges early on, the film settles into a more traditional film that embraces its completely OTT edges. Escapist and absurd it may be, but Another Simple Favor is worth it for yet another superlative Kendrick performance.

Another Simple Favor is streaming on Prime Video now.

Thunderbolts*: Movie Review

Cast: Florence Pugh, Sebastian Stan, David Harbour, Olga Kurylenko, Julia Louis Dreyfus
Director: Jake Schreier

After the somewhat underwhelming Captain America: Brave New World, the pressure's back on Marvel to deliver a cinematic tentpole worthy of their oeuvre.

Step forward Thunderbolts*, a movie about a ragtag bag of reformed villains looking to do the right thing. Less Avengers, more Suicide Squad - but with plenty of issues.

And the film largely lands, thanks to an incredible performance from Pugh as the damaged Yelena, still struggling with the loss of her sister Black Widow and searching for her meaning and purpose after hit after psychological hit.

Best experienced spoiler-free, loosely the plot of Thunderbolts* concerns itself with a ragtag group comprising Yelena, the first Captain America, Taskmaster, Ghost and Red Guardian. When Julia Louis-Dreyfus' Valentina is threatened with impeachment by Congress, she decides to eliminate her dodgy past - which means literally burning her bridges with the operatives she's deployed in the past. 

However, when the gang is forced to team up for survival, they uncover a greater threat that needs addressing.

With trauma, suicide, depression and darkness swathing large parts of Thunderbolts*, the film can feel like the least Marvel-led outing for a long time. But in some ways, that's a good thing - particularly here where it gives Pugh the chance to bring some depth to her assassin; and while Harbour provides the comic relief as her father, there are plenty of moments that mine the humanity of the father-daughter relationship in ways that feel grounded and real.

Slices of visuals from The Boys and Homelander creep in, and there's a lot here that feels familiar (in ways too spoiler-heavy to mention) but if Thunderbolts* does anything, it goes a long way to prove that Marvel can pull together relevant films that feel both timely and timeless.

From dealing with toxic male behaviour to blatant fragility, the film does take some very wild swings, and tonally doesn't always quite match up. Yet it proves to be compelling enough to be enjoyable for its two hour pacing.

And given Marvel's relative uneven edges to Phase Five of its existence, that really does leave this one feeling like a Thunderbolt out of the blue.

The Penguin: Season 1 Blu Ray Review

Colin Farrell's Oswald Cobb comes to the small screen in this spinoff series from the 2022 Matt Reeves movie The Batman.

Picking up directly after the end of the movie after Paul Dano's Riddler had unleashed a series of bombs which destroyed the seawalls and flooded Gotham, the eight-part run sees Oz try to scrabble to the top of the criminal underworld during a power vacuum.

But standing in his way is the Falcone family, who've been running the drugs operation in Gotham for years without contender. However, a new challenger to the throne arrives in the form of Cristin Milioti's Sofia, who's fresh out of Arkham hospital and on the push for revenge.

It's very easy to categorize The Penguin as a Sopranos-wannabe. (Even down to the opening titles graphics card of the show name).

From Cobblepot's Tony Soprano-esque gait through to his browbeaten relationship with his own mother, who's grappling dementia, there are plenty of parallels to the David Chase James Gandolfini-led show.

It's not a bad comparison to rub up against in many ways, and those expecting a more superhero-led show full of the quirks of the Burton Batman world may deservedly be disappointed. But what it does mean for The Penguin is solid drama or not, it never really ascends the similarities to any other mob drama you've seen and emerge as something solidly different.

Which is a shame, because it's watchable enough fare.

Farrell is all New York-swagger and threatening vibes, with flashes of insecurity bubbling over into violence. It makes for an intriguing protagonist, because even with the machinations and political manoeuvrings that Cobblepot's dabbling in, you're never quite sure what's going through his mind.

Thankfully, his relationship with young stammering street kid Victor Aguilar (Rhenzy Feliz) is stunning to watch. Whether it's mentoring him or remonstrating his failures, the frisson of uncertainty and would-be father vibes makes for solid viewing.

Equally impressive is Milioti's Sofia Falcone. Clearly traumatised by her time in Arkham and resentful at being held at arm's length by her own family, Milioti channels a kind of dead-eyed stare that is borderline psychotic and cold when the menace is needed.

Ultimately, The Penguin is a mix of politics and violence. Its more dialogue-led episodes very occasionally feel lumpen and leaden, but as a portrait of a character often ridiculed for his gait and props, thanks to Farrell's depth of work, this Penguin emerges as more of a duality character than a one-dimensional freak to Gotham.

The Penguin plays every Friday from 4pm on Neon

What’s new on Netflix in May

Here’s everything that’s streaming on Netflix in May.

SIRENS  Premieres on May 22, 2025 

Devon thinks her sister Simone has a really creepy relationship with her new boss, the enigmatic socialite Michaela Kell. Michaela’s cult-ish life of luxury is like a drug to Simone, and Devon has decided it’s time for an intervention, but she has no idea what a formidable opponent Michaela will be. Told over the course of one explosive weekend at The Kells’ lavish beach estate, Sirens is an incisive, sexy, and darkly funny exploration of women, power, and class.

Starring: Julianne Moore, Meghann Fahy, Milly Alcock, Kevin Bacon

THE FOUR SEASONS - Premieres on May 1, 2025 

The decades-long friendship between three married couples is tested when one divorces, complicating their tradition of quarterly weekend getaways.

Starring: Tina Fey, Will Forte, Kerri Kenney-Silver, Marco Calvani, Erika Henningsen, Colman Domingo, Steve Carell

CONAN O'BRIEN: THE KENNEDY CENTER MARK TWAIN PRIZE FOR AMERICAN HUMOR

Premieres on May 4, 2025 

Comedy's biggest stars gather to toast and celebrate late-night legend Conan O'Brien as he accepts the Mark Twain Prize for American Humor.

Starring: Conan O'Brien, John Mulaney, Will Ferrell, Kumail Nanjiani, Paul Rudd, Sarah Silverman, Stephen Colbert, Tracy Morgan, Reggie Watts, Sean Evans, Adam Sandler, David Letterman

FULL SPEED: SEASON 2

Premieres on May 7, 2025 

In the race for the 2024 NASCAR championship, this high-octane documentary series gets closer than ever to the drama on and off the track.

Starring: Joey Logano, Ryan Blaney, William Byron, Christopher Bell, Daniel Suárez

BLOOD OF ZEUS: SEASON 3

Premieres on May 8, 2025 

Set loose from captivity and burning for revenge, the king of the Titans swears to crush the Olympian gods and reclaim the power they stole from him.

Starring: Derek Phillips, Jessica Henwick, Jason O'Mara, Elias Toufexis, Adetokumboh M'Cormack, Claudia Christian, Chris Diamantopoulos, Fred Tatasciore, Cissy Jones, Lara Pulver

BET

Premieres on May 15, 2025 

At a private school where gambling determines social status, a skillful new student with a mysterious past is shaking things up — and betting on revenge.

Starring: Miku Martineau, Rami Khan, Ryan Sutherland, Eve Edwards, Ayo Solanke, Dorial Giordano, Clara Alexandrova, Hunter Cardinal

LOVE, DEATH & ROBOTS: VOLUME 4

Premieres on May 15, 2025 

Dinosaur gladiators, messianic cats, string-puppet rock stars — it can only be Love, Death + Robots. The fourth volume, presented by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (Mindhunter, The Killer), sees Jennifer Yuh Nelson (Kung Fu Panda 2, Season 3’s “Kill Team Kill”) return as supervising director for ten startling shorts showcasing the series’ signature, award-winning style of bleeding-edge animation, horror, sci-fi, and humor. Buckle up.

FEAR STREET: PROM QUEEN

Premieres on May 23, 2025 

Who will be voted queen at Shadyside High's 1988 prom? For underdog Lori, competition is cutthroat even before someone starts killing off the candidates.

Starring: India Fowler, Suzanna Son, Fina Strazza, David Iacono, Ella Rubin, Chris Klein, Ariana Greenblatt, Lili Taylor, Katherine Waterston

COLD CASE: THE TYLENOL MURDERS

Premieres on May 26, 2025 

Who really laced Tylenol with cyanide? This true-crime series examines alarming theories behind the unsolved killings — and tracks down a key suspect.

F1: THE ACADEMY

Premieres on May 28, 2025 

Follow fifteen of the world's best female drivers as they take to the tough tracks of F1 Academy in this high-octane documentary from Hello Sunshine.

What's on Shudder in May

Here's everything that's streaming on Shudder in May.

The Ugly Stepsister – Shudder Original Film 

New Film Premieres Exclusively on Shudder and AMC+ in May (Date TBA) 

A sinister twist on the classic Cinderella story, The Ugly Stepsister follows Elvira as she prepares to earn the prince’s affection at any cost. In a kingdom where beauty is a brutal business, Elvira will compete with the beautiful and enchanting Agnes to become the belle of the ball. 

The Surrender – Shudder Original Film 

New Film Premieres Exclusively on Shudder and AMC+ Friday 23 May 

A fraught mother-daughter relationship is put to a terrifying test when the family patriarch dies, and the grieving mother hires a mysterious stranger to bring her husband back from the dead. As the bizarre and brutal resurrection spirals out of control, both women must confront their differences as they fight for their lives – and for each other. 

The Surrender – Shudder Original Film 

Vampire Hunter D 40th Anniversary Film Premiere

Exclusively on Shudder, AMC+ and HIDIVE Friday 30 May 

In the year 12,090 A.D. technology and the supernatural have overtaken the world, leaving the land desolate and despotic. The remnants of humanity are scattered into small communities and live in fear of vampires who compose the ruling Nobility. When Count Magnus Lee tastes the blood of Doris Lang, she is forcibly chosen to be his next wife. In an effort to escape her ill-gotten fate she hires a mysterious vampire hunter known only as D, who comes from a peculiar lineage. 

NEW ADDITIONS TO SHUDDER’S FILM LIBRARY 1 May  

The Devil’s Business 

At the horse of their target, two hit men bide their time waiting for the kill, only to find the death already  arrived in the shape of black magic, devilish spirits and the occult.  

Blood on Satan’s Claw 

In early 18th century England, the children of a village slowly convert into a coven of devil worshipers. 

Curse of the Crimson Alter 

Robert Manning visits the remote country house where his brother Peter was last seen. While his host  seems outwardly friendly and his niece more demonstrably so, Robert detects a feeling of menace in  the air.  

Witchfinder General 

During the English Civil War, a young Roundhead seeks vengeance against a vicious witch-hunter  and his henchman, who have terrorised the soldier’s fiancée and wrongfully executed her uncle.  

Itim (The Rites of May) 

During a return to his provincial home, a young man gets involved with a woman who is ultimately  possessed by her sister’s spirit, paving the way to revealing the painful truth about her unsolved  disappearance. 

Shutter 

A newly married couple discovers disturbing, ghostly images in photographs they develop after a  tragic accident. Fearing the manifestations may be connected, they investigate and learn that some  mysteries are better left unresolved.  

Coming Soon 

Two projectionists discover a disturbing film featuring the lynching of a woman, not only are they  troubled by the content of the movie, but strange events befall them following the viewing.  

Phobia 

Four chilling tales intertwine: a teenager’s unsettling text messages, a bullied student’s dark revenge,  a camping trip gone wrong and a flight attendant’s nightmarish ordeal. Each story explores fear and  the supernatural.  

Phobia 2 

Horror anthology consisting of five segments by acclaimed Thai directors. Segments involve a criminal  seeking refuge, a haunted hospital, haunted truck passengers, a car dealer’s dark discovery and an  ill actress portraying a ghost.  

5 May 

Severance 

During a team-building retreat in the mountains, a group of sales representatives are hunted down  one by one.  

A Night of Horror Vol 1 

Ten filmmakers. One night of horror. 

19 May 

Dead End Drive-In 

In a dystopian future Australia, a health nut and his tag-along girlfriend become trapped in a drive-in  cinema that has become a concentration camp for delinquent youths and refugees.  

26 May 

The Whip and the Body 

The ghost of a sadistic nobleman attempts to rekindle his romance with his terrorised, masochistic  former lover, who is unwillingly betrothed to his brother.  

Hagazussa 

After the loss of her tormented mother, the erratic behavior of a 15th century woman living in an  isolated mountain village becomes a threat to the safety of her infant child.  

Wicked: Part One: Blu Ray Review

Cast: Cynthia Erivo, Ariana Grande, Jonathan Bailey, Jeff Goldblum, Ethan Slater, Michelle Yeoh
Director: Jon M Chu

There's a scene early on in Jon M Chu's audacious staging of Wicked where his professor character Dr Dillamond, a talking goat, denounces one of the student's assignments as being little more than "form over content."

In some ways, that could be applied to the first part of the adaptation of Stephen Schwartz and Winnie Holzman's musical, a film that's largely about setting up a payoff that won't come until November 2025.

A breathtakingly impressive Erivo stars as the green-skinned outcast Elphaba, who lives in the land of Oz and is destined to become the Wicked Witch of the West. Determined to meet the Wizard of Oz (Goldblum, in an eccentric and whimsical performance), she enrols at Shiz University. 

But appalled at her treatment by the powers that be, blonde-haired mean girl Glinda (Grande, a natural at the comedy airhead routine needed by the Good Witch) tries to ostracise her. However, when the pair actually form a friendship, they find they have more in common as a dark conspiracy swirls around Oz itself.

While the film is largely a great deal of style over substance, set in a derivative version of a Hogwarts-style university complete with talking animals and nods to the Wizard of Oz and what's to come, the incredible costumes and look and feel of the musical is actually astounding to behold.

Covering only the musical's first act, a colourful array of props and scenes litter proceedings, with various songs peppered throughout. It does fall to mention that unfortunately, unless you're a fan of the original musical, many of the numbers are lost to the memory the moment the lights go up.

The central narrative of how wickedness happens is a soft one in many ways, a chance to revamp a story that's previously been doused in evil and all the better for it. But with horrifying imagery such as how the flying monkeys got their wings and emotional betrayal at its heart, most of what transpires in Wicked: Part One is infinitely more enjoyable than you'd come to expect.

Both Erivo and Grande excel, and while the whole gimmick of singing live during filming is fairly tame given both have live music backgrounds, there's no doubting their chutzpah and delivery whatsoever. Taking the traits of a musical that panders to audience knowledge and laughs (from a few knowing cameos to Grande's continual Glinda hair toss routine), the film does much to ingratiate itself in those who aren't familiar with the source material.

Yet at its heart, the film belongs solely to those behind the camera. From visions of bursting colour and exquisitely choreographed and clear scenes of crowds, Chu's eye for what transpires as spectacle is hard to deny - and deserves plenty of praise.

In hindsight, while Wicked: Part One does little in terms of strong narrative and character depth, what it achieves within its genre is completely impressive. It remains to be seen whether the second act is as good as the first's bum-numbing 2hr 40 minutes, but it'd be Wicked to dismiss this film's execution as anything but a triumph within its class.

Doctor Who: The Well: Review

The most secretive episode of the second run of Ncuti Gatwa's Doctor arrives - and with it, plenty of fan expectation.

When the Doctor and Belinda examine an abandoned facility on an alien world, they find themselves stuck and facing terror like they'd never have expected.

To say more about The Well is to spoil the speculation that proved to be correct online. But what is clear about The Well is how cleverly insidious and genuinely upsetting it is in parts after the Doctor and Belinda find themselves stuck on planet wiped out by radiation.

Building a sense of tension throughout, the story seeks to expand on the previous tale and while there's always an argument that explaining away the unexplainable robs it of the mystery, somehow this just manages to stay on the right side of the ledger. It's not as successful as the first admittedly, but thanks to the central performances of Rose Ayling-Ellis as the only survivor found on the planet, and Slow Horses' star Christopher Chung as a belligerent soldier, the story coalesces despite a rush of revelations around the halfway mark.

With further clues about the fate of the Planet Earth as Belinda tries to get home, and an ending that teases more for the future, The Well is a base under siege story that deals in terror and largely achieves it.

Indiana Jones and the Great Circle: PS5 Review

Developed by MachineGames
Published by Bethesda
Platform: PS5

Porting across to the PlayStation just months after it impressed on XBox, the Indiana Jones game feels like a natural fit for the kind of escapades made famous by the Uncharted franchise - exploring, taking on bad guys and looting where necessary.

Set between Raiders of the Lost Ark and The Last Crusade, the game drops Indy into 1937 as he tries to harness the power of the Great Circle, something a group of bad guy Nazis are also trying to do. Jumping around the world, the game gets the globetrotting story of Indy right and makes a compelling argument for good times in the franchise.

From stealth to fighting, the Great Circle's strength is an accurate depiction of what you'd want from an Indy title - and along with the elements of stealth and whip-cracking, this is the kind of port across that you'd want. With haptics and the PS tech being integrated into the game, the Indiana Jones experience is one that can't easily be denied.

And while the game feels eerily true to the film franchise and could be accused of doing little to stand out on its own, its adherence and performance from Troy Baker as Indy are all to be admired. It does exactly what you'd want from an Indy game and manages to seize on the nostalgia highs you'd expect.

Graphically the game soars on the PS (and one suspects the PS5 Pro would see it soar even higher) but while it's faithful to the Xbox version, its emulation within the PlayStation environment means it's still deeply enjoyable.

The Accountant 2: Movie Review

Cast: Ben Affleck, Jon Bernthal, Cynthia Addai-Robinson, Daniella Pinada
Director: Gavin O'Connor

Ben Affleck's autistic accountant returns nearly a decade after his first outing for another run that puts him in not one, but two odd couple situations and runs with it.

Yet rather than deal with the more character-led moments of the story, what emerges in The Accountant 2 is a stereotypical shoot-out set in Mexico that just about hits all the familiar plots of human trafficking, faceless bad guys and bloody ludicrous demises.

Affleck is Christian Wolff, who's called in to help Treasury deputy director Marybeth Medina (Addai-Robinson) when the department's former director is killed (an all too wasted JK Simmons). Tracking down those believed to be responsible throws up a curveball involving a missing Mexican family and a reunion with Wolff's brother Braxton (a livewire and charismatic Bernthal).

While The Accountant 2 is a solid film that goes for action over character, bullets over moral quandaries and ethical edges, its slow burn and aloof lead provide a mix that's hard to love and feels in part like it's simply about enduring the film's two hour run.

The chemistry between Bernthal and the severely restrained Affleck is great to watch, even if many of the moments comes from uneasy laughs over Wolff's unease at dealing with certain situations (something which the script mines a little too often and begins to feel like an unfair dramatic crutch). Equally, a university hub run by autistic kids to hack and track crimes feels a little borderline too - one moment where the edges are blurred and a character pushes back against it seems like an ill-advised roadblock than a dramatic necessity.

But a messy script with untidy edges holds things back when it should soar and a somewhat muddy narrative and central mystery leaves The Accountant 2 feeling undercooked when it should soar. And at times, it never entirely seems convinced whether it's a buddy movie from the 1980s or an overly grim drama that's clearly been inspired by Sicario.

Perhaps an expeditious trim would have helped here - because in the final wash, unfortunately, this Accountant doesn't quite add up.

Until Dawn: Movie Review

Cast: Ella Rubin, Michael Cimino, Peter Stormare, Ji-Young Yoo, Odessa A'Zion
Director: David F Sandberg

When the Until Dawn game appeared back in 2015, its adaptation of horror, third-person gaming and the butterfly effect set in motion a chain of success that saw ripples for years to come.

Now a decade on, the game's been taken as an inspiration point for a horror film that mixes survival, Groundhog Day, slasher and the zombie genres in some truly effective ways.

One year after her sister's disappearance, Clover (Rubin) and a group of her friends head to the last spot she was seen to try and piece together what happened. But within hours of arriving, they find themselves trapped in a nightmare, destined to be killed time and time again.

Until Dawn's movie is tremendously effective at building a world of unease around it - but less so at creating a level of coherence as the reasons for what's going on are revealed toward the end. It has to be said the movie feels like it rushes to some kind of conclusion, with a stream of answers coming in between a run of attacks and escapes. (And a wonderful final nod to the actual game itself).

Yet the journey to the destination is nothing short of compelling and thrilling.

From its headscratching what's going on here approach as the group finds themselves caught in a clutch of seemingly unexplainable mysteries to the moments the horror really ramps up, Until Dawn more than delivers on a promise of changing up the traditional stalker horror into something that's more disturbing and upsetting.

Each kill feels gnarly and gut-wrenching. There are moments of humour (and one series of deaths that's laugh-out-loud funny in its gory execution, despite a final scene explaining away why it happened like that) but they're deftly balanced by a kind of tension that's sickening to watch.

Complete with Easter Egg nods to the game, PlayStation Productions' approach to Until Dawn has been to deviate slightly from the expectations of those who've played it and double down on what makes a good horror work these days - mystery and uncertainty.

An effective thrill ride that impresses until it doesn't, Until Dawn deserves your time - it's a reminder what the horror genre can do when it's treated with intelligence.