What's on Disney+ in June

Here's everything that's streaming on Disney+ in June.

Predator: Killer of Killers (June 6)

20th Century Studios announced that “Predator: Killer of Killers,” an original animated action-adventure film set in the Predator universe, will premiere June 6, 2025, exclusively on Disney+. Check out the first look and poster.

The anthology story follows three of the fiercest warriors in human history: a Viking raider guiding her young son on a bloody quest for revenge, a ninja in feudal Japan who turns against his Samurai brother in a brutal battle for succession, and a WWII pilot who takes to the sky to investigate an otherworldly threat to the Allied cause. But while all these warriors are killers in their own right, they are merely prey for their new opponent – the ultimate killer of killers.

“Predator: Killer of Killers” is directed by Dan Trachtenberg with Josh Wassung, from animation company The Third Floor, serving as co-director. The film is written by Micho Robert Rutare and story by Trachtenberg and Rutare, based on characters created by Jim Thomas & John Thomas. The producers are John Davis, Dan Trachtenberg, p.g.a., Marc Toberoff, Ben Rosenblatt, p.g.a., with Lawrence Gordon, James E. Thomas, John C. Thomas, and Stefan Grube as executive producers.

Call Her Alex (June 10)

Disney+ announced the brand new Original documentary series, “Call Her Alex,” which will launch June 10 on Disney+ in New Zealand.

“Call Her Daddy” creator, host and executive producer Alex Cooper is at the top of her game, signing one of the biggest deals in podcast history. This revealing two-part series gives audiences a behind-the-scenes, intimate look at her journey and the defining moments that shaped her influential voice.

“I’ve shared my life with the Daddy Gang since I started "Call Her Daddy"—but this documentary series takes it even deeper,” said Alex Cooper. “It’s a behind-the-scenes look at the moments that shaped me—the raw, the messy, the personal stuff I’ve never felt comfortable sharing until now. My hope is that by bringing people along for this part of my journey, they’ll feel both more connected to my life and more empowered in their own."

What does it take to become the most influential female podcaster of a generation? Following Alex Cooper as she prepares for her first tour, this compelling two-part documentary series traces Cooper's evolution—from a self-conscious kid growing up in Pennsylvania to the voice behind “Call Her Daddy,” a podcast that redefined the conversation for women everywhere. Directed by Ry Russo-Young ("Nuclear Family"), the series offers an intimate, behind-the-scenes look at the life-defining events that shaped Cooper’s journey as she grew from a 24-year-old woman with a sex and dating podcast to the CEO of a media empire in just six years. More than just a success story, it's a portrait of a woman who is creating a space where women feel seen, heard, and empowered.

“Call Her Alex” is directed by Ry Russo-Young (Peabody Award-nominated “Nuclear Family”). Russo-Young also serves as an executive producer alongside Braden Bochner and Christopher Foss. Holly Siegel is producing. “Call Her Alex” is produced by Unwell.

 

What's on Netflix in June

Here's what's streaming on Netflix in June

Squid Game Season 3 (June 27)

A failed rebellion, the death of a friend, and a secret betrayal. Picking up in the aftermath of Season 2’s bloody cliffhanger, the third and final season of Netflix’s most popular series finds Gi-hun, a.k.a. Player 456, at his lowest point yet. But the Squid Game stops for no one, so Gi-hun will be forced to make some important choices in the face of overwhelming despair as he and the surviving players are thrust into deadlier games that test everyone’s resolve. With each round, their choices lead to increasingly grave consequences. Meanwhile, In-ho resumes his role as Front Man to welcome the mysterious VIPs, and his brother Jun-ho continues his search for the elusive island, unaware there’s a traitor in their midst. Will Gi-hun make the right decisions, or will Front Man finally break his spirit? 

Director Hwang Dong-hyuk, who made history at the 74th Primetime Emmys®, becoming the first Asian to win Outstanding Directing for a Drama Series, once again helms the series as director, writer, and producer. Season 3 stars Lee Jung-jae, Lee Byung-hun, Yim Si-wan, Kang Ha-neul, Wi Ha-jun, Park Gyu-young, Park Sung-hoon, Yang Dong-geun, Kang Ae-sim, Jo Yu-ri, Chae Kuk-hee, Lee David, Roh Jae-won, and Jun Suk-ho, with special appearance by Park Hee-soon. 

What's on Prime Video in June

Here's everything that's streaming on Prime Video in June.

We Were Liars (June 18)

All eight episodes will be available on June 18, 2025, exclusively on Prime Video in more than 240 countries and territories worldwide.

We Were Liars follows Cadence Sinclair Eastman and her tight-knit inner circle, nicknamed the Liars, during their summer escapades on her grandfather's New England private island. The Sinclairs are American royalty—known for their good looks, old money, and enviable bond—but after a mysterious accident changes Cadence's life forever, everyone, including her beloved Liars, seems to have something to hide. 

 Starring "the Liars": Emily Alyn Lind as Cadence Sinclair Eastman, Shubham Maheshwari as Gat Patil, Esther McGregor as Mirren Sinclair Sheffield, Joseph Zada as Johnny Sinclair Dennis; alongside Caitlin FitzGerald as Penny Sinclair, Mamie Gummer as Carrie Sinclair, Candice King as Bess Sinclair, Rahul Kohli as Ed Patil, and David Morse as Harris Sinclair. 

The series is written and executive produced by co-showrunners Julie Plec (The Vampire Diaries, Legacies) and Carina Adly MacKenzie (Roswell, New Mexico, The Originals). Also executive producing are Emily Cummins (The Endgame, Vampire Academy) for My So-Called Company, Brett Matthews (Legacies), Pascal Verschooris (The Vampire Diaries), and the novel's author, E. Lockhart. Universal Television, a division of Universal Studio Group, and Amazon MGM Studios are behind the project. The novel is published by Delacorte Press, an imprint of Random House Children's Books.

What's on DocPlay in June

Here's everything that's streaming on DocPlay in June.

This month on DocPlay, celebrate local talent: new short documentaries from AFTRS graduates premiere exclusively on the platform, while School of Hard Knocks, from WA filmmaker Cristian Broadhurst, is a compelling portrait of Nik Tuhakaraina, a former professional wrestler-turned-mentor. Plus, two new bingeable Ken Burns series come to DocPlay: The Gene: An Intimate History and Lewis and Clark.

2 June

The Grab

An investigative journalist uncovers the money, influence, and alarming rationale behind covert land grabs by some of the world's most powerful countries. From director Gabriela Cowperthwaite (Blackfish).

5 June

Black Coast Vanishings • Series

A gripping investigation into the disappearance of six people in the small town of Piha Beach (New Zealand), which divides the locals and gives rise to fear and suspicion.

9 June

Nisman: The Prosecutor, The President and the Spy • Series

This must-see six-part documentary series recounts a true story steeped in high-level conspiracy, corruption and yet to be resolved mystery.

12 June

Elizabeth: A Portrait in Parts

From the director of Notting Hill and Tea with the Dames comes Elizabeth: A Portrait in Parts. A nostalgic, uplifting and modern documentary about Queen Elizabeth II – the greatest British monarch of all time and longest serving female head of state in history.

23 June

The Gene: An Intimate History

From director Ken Burns, The Gene weaves together science, history amd personal stories for a historical biography of the human genome, while also exploring breakthroughs for diagnosis and treatment of genetic diseases, and the complex ethical questions they raise.

Lewis and Clark

Discover the story of America’s greatest story of adventure - the Corps of Discovery - led by Lewis and Clark.

26 June

AFTRS Shorts • Exclusive

Six of Australia’s finest emerging documentary filmmakers present new works that span such diverse as urban beekeeping; Sydney’s marine ecosystem; masked wrestling; and art and queer identity. 

K’Road Chronicles Season 4 • Series

A look at homelessness from the inside. Six - once homeless herself, now a journalist, is our guide to the colourful, diverse, harsh and often tragic world of the people living on and around Auckland's Karangahape Road.

30 June

School of Hard Knocks • Exclusive

A former professional wrestler, now tragically confined to a wheelchair, runs a school for aspiring wrestlers in Perth, hoping to give them the physical, mental and emotional skills to succeed in the ring and in their troubled lives. 

Doctor Who: The Interstellar Song Contest: Review

The latest adventure for the Doctor and Belinda sees the pair ending up at the 803rd Interstellar Song Contest8, a camp mix of Eurovision and aliens (timed to release with the annual Eurovision Song Contest weekend).

The second series has just two more episodes to go after this and with an uncertain future for the show bubbling away in the background, the pressure's been on this year to turn it around.

But what begins as a harmless bit of fun for Ncuti Gatwa's Doctor and Varada Sethu's Belinda soon turns out to be a desperate battle for survival...

The key parts of this episode are riddled with spoilers for long-running mysteries seeded since the start of Gatwa's tenure and while they appear to set up further questions rather than answers, at least one of them is a genuine surprise. A mid-credits scene delivers something else too.

But what the Interstellar Song Contest has a main story is another parallel with current concerns.

As the main control room of the song contests broadcast is invaded by Freddie Fox's alien Kid, who's determined to sabotage the event and who coldly kills 100,000 people (seemingly including the Doctor), is a story that appears to parallel Israel and Palestine in a non-too subtle way. It's powerful stuff and given the current Eurovision has been hit by protests over sibgers from the Middle East, it's both prescient and chilling.

Equally chilling is Gatwa's turn as the Doctor here who effectively delves into a darker, more cruel side, hitherto unseen in this incarnation shocking his companion Belinda. But what's frustrating is that despite her initial contempt, by episode's end she's reverted back to not really caring, which is the fault of poor writing and perhaps a problem of the show's need for speed rather than depth.

With side characters getting more to do this episode,there's a feeling that it's more of a packed episode than normal. 

But in parts, it feels too totally jerky, a mix of camp comedy, Rylan Clark's awful acting and a Eurovision-style spectacle that doesn't quite gel in parts.

Overall, Doctor Who: The Interstellar Song Contest is an episode that has a strong central plot but is one which is more about its reveals and mysteries going into the two part finale than a fully-fleshed compact story.

Samsung launches 2025 Home Appliance & TV Range

Samsung has unveiled its 2025 line-up of home appliances and TVs — designed to make lives easier, more connected, and more stylish. 

Smarter Living Made Easy

The new home appliance range uses built-in AI to adapt to how people live. Whether it’s a fridge that helps manage groceries or a washer that learns your laundry habits, these products are all about simplifying everyday tasks.

One highlight is the Bespoke AI Jet Ultra – the world’s most powerful cordless stick vacuum with 400W suction power, smart self-diagnosis, and a display that shows battery, suction levels, and alerts.

Another product to note is the Smart Side By Side Refrigerator range, which flaunts which opens automatically to the touch, can be controlled by voice command, and even helps plan personalised meals and notify when your produce needs to be used.

Also new is the 9kg Smart Front Load Washer with Steam Wash Cycle, designed to tackle everyday stains with powerful steam cleaning, while being energy-efficient and gentle on fabrics.

TVs taking Home Entertainment to a New Level

The 2025 TV range is Samsung’s most advanced yet, featuring Neo QLED 8K, The Frame Pro, and OLED options.

The Neo QLED 8K range offers stunning picture quality and now features a wireless box to reduce cable clutter.

The Frame Pro combines art and entertainment, with customisable bezels and a glare-free screen that displays both shows and artworks beautifully.

OLED S95F is built for deeper blacks, brighter colours, and an immersive viewing experience — perfect for film buffs and gamers.

All TVs feature Vision AI, which adapts sound and visuals automatically; and come with access to 100+ free channels via Samsung TV Plus. What’s more, all the appliances connect to Samsung’s SmartThings app, so users can control and monitor their home from their phone, wherever they are.

“Recognising that every individual leads a unique lifestyle, Samsung is focused on ensuring its technology adapts to the specific needs of each user,” said Tura Gim, Group Head of TV & DigitalAppliances, Samsung New Zealand. “With the introduction of Vision AI and AI Home, more Samsung devices across the home are now equipped to deliver secure, highly personalised experiences. These innovations are designed to evolve over time, continuously learning and adapting to users' routines—offering smarter, more intuitive ways for Kiwis to enhance their everyday lives.

"For the past ten years, Samsung has been reimagining the role of smart devices with the aim of making everyday life easier for consumers. The 2025 line-up represents a culmination of that journey, showcasing how Samsung’s connected ecosystem of products is designed to reduce the mental load while promoting relaxation, assurance, immersion, and personal expression."

Nosferatu: Blu Ray Review

Cast: Lily-Rose Depp, Nicholas Hoult, Bill Skarsgard, Willem Dafoe, Emma Corrin, Aaron Taylor-Johnson, Simon McBurney
Director: Robert Eggers

Nosferatu seems like the dream nightmare project for VVitch director Robert Eggers, a man whose singular vision for medieval-set stories and their dark imagery is second to none.

This slow-burn homage on the very familiar tale of a vampire wheedling his way into peoples' lives and wreaking havoc in society is the very antithesis of a film to be seen in the light.

A remake of FW Murnau's 1922 silent classic, this German-soaked version heads to 1838 where Lily-Rose Depp's Ellen is haunted by visions of nightmare fuel. Three years later, she is just married to Nicholas Hoult's Thomas, a would-be businessman searching for that first big score to make his name and his fortune.

That comes n the shape of Bill Skarsgard's Count Orlok, who, in absentia, is looking for a new property to inhabit. So, against Ellen's wishes, Thomas heads to secure his signature, setting in motion a chain of fatal events.

There's plenty of portent and black-and-white drained imagery in Nosferatu, a film that's more about atmosphere than any kind of urgency. But that proves to be no bad thing and while occasional nods to Murnau's original appear (the shadowy tendrils being perhaps the most obvious), this is defiantly an Eggers' film.

Nobody does far Eastern peasantry like he does - and scenes where Thomas heads to Transylvania to begin his work reek of destitution and desperation. But equally, early sequences that suggest of Ellen's connection to Orlok are deeply unsettling, setting out the stall that the two are intertwined and this dance is theirs alone.

And Rose-Depp's performance as the trapped Ellen looking to charge of her life and her situation is nothing more than impressive - and the physicality she brings to the role is speelbinding.

Not everything fires in Nosferatu though.

Willem Dafoe's Professor Von Franz borders too closely on OTT hamminess as the Van Helsing-type character, prone to loud proclamations of both exposition and unintended hilarity. Simon McBurney's Herr Knock squanders early evil subservience for something more comical, a disappointing decision made where subtlety would have anchored this more readily in the terrifying.

Thankfully, Skarsgard's Orlok, complete with deep intonations, rattling and wheezing breaths as well as extremely considered vocal tics, is a fabulously upsetting villain, who has dalliances with tragedy. Eggers wisely holds back the major reveal of his emaciated frame until later in the film - and a final sequence that demonstrates his complete form is as repulsive as it is compelling.

In no rush to get to its final destination, Robert Eggers' Nosferatu becomes more about the aesthetic than the story.

But with an aesthetic that's as terrifying and as discomforting as this one is, it's well worth staking a claim to.

Mission: Impossible - The Final Reckoning: Movie Review

Cast: Tom Cruise, Hayley Atwell, Simon Pegg, Ving Rhames, Hannah Waddingham, Nick Offerman, Angela Bassett, Henry Czerny
Director: Christopher McQuarrie

Is this the final mission for Ethan Hunt?

Picking up where Mission: Impossible - Dead Reckoning: Part One ended, the film throws Ethan (Cruise) and his IMF pals back into the hunt to stop an AI that could destroy the world.

But with the Entity running rife, corrupting the internet, turning people against each other and sowing the seeds of discontent, it looks like this is one Mission that Ethan Hunt may not be able to pull off. And with Hunt having gone AWOL after taking the Cruciform key that's needed to unlock the Entity's original source code which is trapped in a sunken submarine somewhere in the world, time is running out.

The eighth Mission: Impossible film features what the franchise has become known for in its last few years. As well as death-defying, seemingly impossible practical action sequences that make you question whether a messianic Cruise cares for his own life in the pursuit of spectacle, there's also a great deal of bloat, repeated exposition and unnecessary dragging out of scenes which don't have the requisite tension to sustain the time spent in the cinema.

Whether it's Cruise's ego or desire to push the envelope, it's not entirely clear. McQuarrie certainly seems complicit in indulging him and the more interesting elements of the plot here (such as they are) are left on the sidelines. Mentions of cultists, moral quandaries et al all go by the wayside for the chance for Cruise to take off his top and slug it out with bad guys. (One early sequence even takes place off-camera suggesting a more ACME edge that's borderline pointless.)

Either it's the desire to push for more spectacular sequences or a propensity for the franchise to veer closer to the edge, the more intimate character edges have been squandered. It's a shame because the earlier outings had a more personal touch that's been lost in the last couple - certainly talk of apocalyptic nuclear armageddons and the repeated mantra of "For Those We Never Meet" throughout suggests the more human touch of the script has been squandered.

When it soars though, Mission: Impossible - The Final Reckoning does. A plane sequence really evokes a how did they do that approach - but an underwater sequence is just a bit dull and lacking in real tension as it plays out solo.

It's touted as the end for the franchise, but there's no doubt that at some point, they'll be back. And while this latest ties in to earlier films picking up threads that were not necessarily left wanting, thanks to an over-stuffing of characters and a lack of emotional edge, it has to be said that Hunt's next mission should be one that needs to go back to basics, rather than over-complicating stories that don't need to be so convoluted.

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