Possessor(s): PS5 Review

Developed by Heart Machine
Published by Devolver Digital
Platform: PS5

There's something about the Metroidvania platform game that keeps bringing people back.

And so it is with Possessor(s), a platform game that takes the best of the genre and twists its own spin on proceedings. Following a demon-led invasion that obliterates the city of Sanzu and leaves protagonist Luca at death's door, a demon called Rhem offers her a deal - he'll heal her if she does one thing for him.

With no legs and no option, Luca takes the deal - but of course, as with any deal with the devil, the truth isn't as simple as it seems. As they're forced to team up, the pair take on various obstacles on their quest - and Luca finds that Rhem hasn't been entirely honest with her.

It's really the banter between Luca and Rhem that makes Possessor(s) such an interesting title. Starting with an intriguing tale that mixes manga with mayhem and a side of monsters, the game really has a way of getting its hooks into you right away.

It's a simple hack and slash in many ways - a game that uses the mechanics you've played with before in many different games. From taking on kitchen knives to hack at victims or using your whip to Indiana Jones it from level to level, the game is very familiar.

So in order to keep it fresh, Heart Machine's deployed an idea that makes things more enticing - the enemies are everyday objects that demons have tried to possess and connect with and failed. It means the likes of traffic cones can menace you and provide plenty of minor laughs while beating you senseless.

From land-locked baddies to airborne ones as well as boss fights, the game offers up some chunky challenges even on easy mode. And while the world of Sanzu is well-realised, it's the interplay of the stories of Luca and Rhem which keeps Possessor(s) such an intriguing and enjoyable game.

It won't win any awards (sadly) but what Possessor(s) offers is a solid and enjoyable slice of platforming that's well worth investing time and effort in.

Sektori: PS5 Review

Developed by Kimmo Lahtinen
Published by Kimmo Lahtinen
Platform: PS5

For some, Resogun is seminal on the PlayStation.

A PlayStation 4 launch title that proved to be engaging, enjoyable and entirely nostalgic of the kind of games that used to steal so much money in the arcades.

So while the latest twin-stick shooter may not be from the Housemarque developers, thanks to one of its own going solo, it's written with the trademark twin-stick DNA. Something which, it has to be said, is no bad thing.

Pushing the twin-stick mentality again, Sektori sees you piloting a pixel-craft as a series of enemies close in on you. Trapped inside an ever-evolving grid, it's up to you to shoot, jump and boost your way out, as well as fighting bosses when they emerge so that you can move on to other worlds.

In no shape or form is it easy, it has to be said - but it must also be stated just how well the game plays, how easy it is to get into, but how hard it is to excel at it. Shooting as you go, clearing space and generally just trying to stay alive all sounds incredibly easy but as the grid around you changes, occasionally trapping you, it's a lot harder than it sounds.

From power-ups and upgrade tokens, there's enough to help you boost your game and improve your gain, but it does mean that you need to take advantage of what you can when you can, or it really is game over.

Fortunately, this indie title is one that's quite addictive, plays wonderfully well despite its simple visuals and once you find a groove is quite hard to put down. It's yet another case of a brilliantly simple indie concept that's been carefully and cleverly developed to get under your skin and become part of your gaming DNA.

Chicken Run Eggstraction: PS5 Review

Developed by
Released by Bandai Namco
Platform: PS5

Picking up where Chicken Run: Dawn of Nugget left off, Chicken Run Eggstraction plunges us back into the world of Molly, Rocky and Frizzle as they partake in a series of missions to free other chickens from the plight of being chicknapped.

It's a simple stealth action game that's fairly light on mechanics and in truth, feels more suited to a mobile playing environment than it does a full-on console. 

But fortunately, what it has going for it is the Aardman touch. From animated cutscenes that are blessed with all the humour of the franchise to some wonderfully familiar vocal touches, the game feels like it's come from the Aardman world, rather than just feeling like it's stolen some of its touches for a cheap cash-in.

It's an important difference and one that does leave you feeling like some of the gameplay is a little wanting in parts. Being a top-down scroller and stealth game, there's no real chance to get back into the charismatic creations of the Chicken Run gang - and that's a bitter disappointment for just a series of what could amount to stick figures instead.

And the game's largely simple too, possibly with it being aimed at a younger end market than older players. With plenty of missions within levels, there are elements of replayability too - but given this is a family title, it's probably best replied with kids to get the most out of it.

Super Mario Galaxy + Super Mario Galaxy 2 Nintendo Switch Review

Developed by Nintendo
Released by Nintendo
Platform: Nintendo Switch

Mario continues to be the go-to character for Nintendo and this latest revamp of the 2010s games proves to be the hit of nostalgia that the company is chasing.

With the Koopa King, Bowser and Princess Peach, the game's still stuck in Mario's world and as it plays out, it's clear to see why they remain so popular. But with 4K visuals, solid platforming mechanics and  a very familiar soundtrack, the revamped 2025 versions of the games make a compelling argument for ownership.

It's all part of the 40th anniversary of the character and while there's still no sign of Mario dwindling in life and popularity, what remains clear about games like this is just how solid the platforming feels and how the race to save the Princess allows for a very familiar storyline to play out.

Travelling to various galaxies and collecting Power stars to access further levels is a very familiar way of playing, but thanks to the refreshed look and just how accessible the game is, this doesn't feel over-tired and out of touch with what players want.

A nicely solid nostalgic return to Mario's world to round out 2025, Super Mario Galaxy + Super Mario Galaxy 2 is a great package worth investing in - both in money and in time.

Twiggy: Movie Review

Director: Sadie Frost

There's a generally breezy feel to actor-turned-director Sadie Frost's run through Dame Lesley Lawson's life in this amiable doco that sheds light on the girl next door who always wanted to be a model.

Born Lesley but given the name Twiggy, the iconic fashion starlet rocketed to fame in the heyday of the swinging 1960s in the UK - but as Frost's rapid-fire opening montage shows it had its darker sides, as she was mobbed at JFK and questioned about her weight and the fact she was flat-chested.

It's a start that hints at a tale of darkness, but this incredibly upbeat and lively tale never once stops to peer into the darkness - even though there are hints of it throughout, from breakups to an ominous encounter with gun-obsessed music maestro Phil Spector.

Perhaps it could do with taking a breath once in a while, but in truth, Forst brings a vibrant energy to the doco that is as infectious as it is entertaining. 

With her big eyes, overdone eyelashes (which were inspired by a ragdoll in her bedroom) and Cockney accent, Twiggy is a rare open book in archive footage splattered throughout. Capturing the joy rather than the hedonism of 1960s UK and a joie de vivre as she insists on taking every opportunity she can when it comes up, there's the kind of plucky underdog story that usually hits with audiences everywhere.

With a wealth of footage to capitalise on, Frost does well to keep this under 90 minutes while pulling together a relatively complete portrait of the icon. It's not embellished with flourishes, nor is it filled with showy moments - the only creative touch is a use of animation for a meeting with Phil Spector and Twiggy's distinctive twang.

Yet conversely what Frost does do is subtly show up the inherent sexism of the time - from questions over weight to Woody Allen's interviewing of her over her favourite philosopher, Twiggy provides a depressing look into how badly she could have fallen had she allowed herself to be sucked into that world.

That's the key thing here though - Frost never once makes Twiggy a victim, and the film empowers her - and audiences - with its nice-girls-can-win ethos and attitude.

It's a blast of a doco and one which leaves you feeling that this is a life lived to the fullest by a person whose energy and drive is nothing short of compellingly catchy.

Eternity: Movie Review

Cast: Miles Teller, Elizabeth Olsen, Callum Turner, John Early, Olga Merediz, Da'Vine Joy Randolph
Director: David Freyne

A clever twist on the idea of the afterlife, director David Freyne's take on the romcom is an unmitigated blast of creativity that basks in an afterglow that may leave you contemplating your own future.

Essentially a traditional rom-com in which the heroine questions her choices in life and ponders the path-less-taken, Eternity sees Miles Teller and Elisabeth Olsen's Larry and Joan facing their own mortality.

While she battles end-stage cancer, he dies first after he accidentally chokes on a pretzel at a gender reveal party for family (after years of nagging by Joan to leave them alone). Awaking on a train, Larry finds himself living as a younger version of himself (one of Eternity's afterlife quirks is that you get to spend the rest of your life as the version of yourself when you were happiest) and heading to the Junction, a purgatory-like station / The Terminal where his AC (afterlife  coordinator) will help him through to the next stage.

But when he gets there, he's told he has only seven days to choose where next to go - prompting him to plead with his AC Anna (Randolph, excellent throughout) to let him wait for Joan's arrival. 

However, when Joan arrives, she finds her own afterlife thrown into confusion when her first husband Luke (a suave Turner) shows up, telling her he waited 67 years in the Junction for her after he died during the Korean War....

Eternity takes a great premise and imbues the tired trope with an (after)life full of quirk, warmth and whimsy. 

From endless sight gags about what other afterlives have on offer and which the confused Larry and Joan should choose, Eternity makes much use of its relative chamber-piece approach to the story. But there are weighty philosophical issues in this, which never once are thrown at audiences or bog down the story. 

There's a distinct feeling of what would you do in a similar position, while also leaving you pondering on accepting what you have now and possibly forever. These are big concepts which could pull down a film like this, but the warmth of the central players and the light touch of the script helps to keep things breezy for the most part. (A middle section could do with a trim, in truth.)

Eternity bristles with creativity and its trio make for timeless versions of the romcom heros and heroines. But rather than shade them in black and whites, all three of them play to the grey areas of their character - from Joan's inability to choose to Larry's insistence that after 65 years there's no decision through to Luke's lost life and love, it makes for an engaging love triangle.

It's a very charming film, one that provides unexpected moments of mirth and introspection and leaves wondering what forever would mean to you. On that front, spending a few hours with this Eternity is nowhere near long enough.

Christmas Karma: Movie Review

Cast: Kunal Nayyar, Danny Dyer, Boy George, Eva Longoria, Billy Porter, Pixie Lott
Director: Gurinder Chadha

The Big Bang Theory's Kunal Nayyar headlines this intriguing, but not quite there, Bollywood take on A Christmas Carol.

He plays Mr Eshaan Sood, the grouchy owner of a business who's continually rankled by those enjoying Christmas and trying to shove it in his throat. A refugee to Britain, he despises the seasonal cheer and anyone espousing it.

On Christmas Eve, incensed by his workers insisting on turning up the heater, singing and dancing and disrespecting him, he fires all of them. Later, he turns down his nephew who wants to celebrate, before heading home angrily dismissing the local choir raising money for charity.

As he settles in for the night, he's visited by the ghost of his old colleague Marley, who warns him three ghosts will visit, insisting he needs to change his ways before it's too late.

In terms of the story of A Christmas Carol, Christmas Karma doesn't veer too far away from the original idea. But as it blasts an incohesive mix of song genres out, leaving the audience confused as to which genre they're actually watching.

From breakdancing Santas to cockney cabbies throwing a tune, to Bollywood dance numbers and some soulful guitar-led music, it's a mess of tunes, some of which are admittedly catchy - even to the most Bah Humbug amongst us.

Yet the Bend It Like Beckham director has a fascinating take on Scrooge, making him a refugee from Uganda, torn from family and friends by the rule of Idi Amin. Confronted on the UK streets by skinheads and racism and with a desire to secure a wife via status, rather than love, Chadha mirrors a Britain currently seized by far-right rhetoric and which feels depressingly contemporary within its story confines.

It's a shame because the emotional edges are there for the taking, but are drowned by trite moments and mawkiwsh sentimentality - and despite the depth of the lived-in experience from the director, Christmas Karma is stuck in its need to adhere strongly to the Dickens' classic.

There are some moments that melt the hardest of hearts, but with an execution like this, it takes the hottest of heats to melt the film's exterior and give in. Especially with Billy Porter and Boy George as the Ghosts of Christmas present and future. (Some of the worst parts of the film.)

More a fascinatingly flawed experience than the abject failure some reviews would have you believe it is, Christmas Karma's strength comes from its ability to try something new. But its failure comes from not capitalising on it and transcending the confines of the classic.

Zootopia 2: Movie Review

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

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

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

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

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

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

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

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

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

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

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

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

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

Bloke of the Apocalypse: Charlie Faulks Q&A

Bloke Of The Apocalypse is an animated web series from 21-year-old Charlie Faulks from Gisborne. In the rural back blocks of New Zealand, a father and son battle a zombie apocalypse and some annoying neighbours, all while taking care of their pet lamb, Lambie.

Charlie took some time to talk his animation inspirations, the joys of making Bloke and the moments he's proudest of.

If you want to watch the whole series on YouTube for free, head to Charlie's YouTube channel and subscribe now - Charlie Faulks - YouTube

Hello Charlie, how are you?

Hi Darren, I’m great thanks!

Let's start with the obvious question, where did Bloke of the Apocalypse come from? And tell me how you got into animation?

I’ve always been a huge nerd for all things animation. I started drawing even before preschool and then when I got to preschool that’s all I wanted to do. Eventually, I got to a point where I wanted to tell stories with my characters. Thankfully, animation fulfilled that need - it clicked immediately and felt like the natural evolution of my drawing skills. I could finally merge my passion for drawing, writing and animation into a single project… which became Bloke Of The Apocalypse (BOTA). An animated series based on my upbringing in Gisborne that follows a father and son combatting a zombie apocalypse.

What are your horror and animation inspirations? Are there defining cartoons from your "younger" days that you can recall and what indelible memories do they throw up?

So, so many inspirations. One cartoon from my childhood in particular that really left an imprint on me is The Marvelous Misadventures Of Flapjack. It’s a wonderfully weird show set in a town on a dock in the middle of the ocean. It’s insanely strange and shares a lot of DNA with BOTA including the close ups, the somewhat unappealing character designs and fast-paced humour. 

What are your New Zealand inspirations?

Flight Of The Conchords is a huge one. It’s completely unmatched in terms of its comedy and just feels so timeless. There’s a flair to that show that is just so much fun. 

In terms of animation: Footrot Flats. I was a compulsive collector of the comic strips and eventually brought them from home in order to decorate the BOTA office in Wellington. I read the book his son Mason Ball wrote (Murray Ball: A Cartoonist’s Life), and it felt full circle reading about this accomplished artist from Gisborne. Footrot Flats is a very meaningful thing to me and the fundamentals of Bloke Of The Apocalypse. 

What were the practicalities of making this series - I understand you did it mostly from a student flat, was it hard to be that disciplined with roomies?

Initially, I made three episodes solo. That was done in my university hall flat alongside two of my mates. They weren't voice actors (at all) but I wrangled them to do some stupid voices for those original episodes. Looking back, it was a wonderful time and I miss it. Hanging out with mates on a relaxed university schedule without a worry in the world. I worked on the show in my spare time throughout my second year of studies at Massey.

It was all shits and giggles until it started to snowball and then became my full time job - what an amazing thing to happen!

What are the animated inspirations - I see elements of Rick and Morty, Adventure Time and Ren & Stimpy too - what was your guiding star for animation with this?

Yep, all of those and so much more! My main inspirations were a lot of what was on Adult Swim - the best place to find some really interesting esoteric stuff. I typically like to be a chameleon in terms of style. It’s a lot of fun to pivot and weave between something more graphic, hard angled and then swapping to a very bubbly, geometric style for example. The visual style for BOTA has an air of adult animation to it. At closer inspection, the characters look a little gross - pimples, moles and deep eye bags. It’s certainly not clean and some of that came from the subject matter. The farm isn’t necessarily a ‘clean’ place - it’s a little rough around the edges and I’m proud the ‘cinematography’ of the series leaned into that.

What were the hardest moments, the ones that made you think you'd taken on more than you can chew and how did you overcome them?

That final episode. It went through a lot, the poor bugger. The idea for the finale came very early on. I wanted it to be a sharp left turn away from the rest of the show. I wanted to set the audience back on their heels, to surprise them. There’s a simple, standard BOTA finale that is cookie cutter that would’ve been easy to make. I wanted to avoid that. Thus, we introduce three new teenage characters and have it suddenly become a Love Island-type thing. In the script, there was even a narrator involved. The episode went through a whole bunch of discussions and edits and cuts and changes. I was very worried about how it would play with the final episode of the season only featuring the two main characters for a fraction of it. It was a genuine stress for me (and potentially the rest of the crew) and a big gamble. Even at the final colour stage we were making changes to the lines and characters.

I’m very happy with how it turned out. Taygen, Erin and Theo (the voice actors) were absolute stars. They made it all actually work. 

Conversely, what was the highlight?

It has to be our first table read. What a fun afternoon that was. It came after a couple of months of me writing the scripts in solitary and was the first time the team got a sense of the full story. That initial table read was a wonderful time in the production where we hadn’t started the stress of fulltime animating and everything was amorphous. The story of BOTA only existed on those pages and we weren't yet responsible about actually bringing it to life. 

The relationship between Bloke and Oliver seems initially inherently Kiwi, but also as it goes on, a very common father -son bond. (The father tearing up over death of a sheep hits anyone who has had pets and tries to protect them and people attached to them). Can you talk us through the inspirations for this, how it unfolded and how your own family feel about it?

I think the relationship in the series is lightly prodding at the strange relationship we as Kiwis have with masculinity - especially in rural areas. It’s interesting to me but I didn’t want that bogging down the series. The main tension (besides the zombies of course) between Bloke and Oliver comes purely from them being different people. Bloke likes the farm lifestyle, Oliver doesn’t. It’s that simple and was sparked by relationships in my own life. I am the first in the family to go into this sort of industry - a wildly different life compared to the people in my family who have worked on farms/rurally all of their lives. It was special for me to try and capture something so complicated. Something so real and personal to, not just me but my family as well.

My family enjoys the show - especially the hyper-specific details and easter eggs that no one else would pick up on. The details were curated to them specifically. It was incredibly special to watch and laugh alongside them at the Terror-Fi premiere.

Oliver and the Grogu of the series, Lambie.

You've designed for series all over the world, can you tell us a little about which series, what you worked on and what you learned?

I can’t say much really! All of those damn contracts. Everything is in development, canned and/or under NDA. I worked with the BBC on a project for example, tasked with designing the cast of characters for an undisclosed children's series. With a lot of jobs like that, I’m just a very small part. I’m there for a second, sketching and ideating and then it’s out of my hands and in development hell.

Is there anything you did with the show that you hadn't expected to and is there anything you wished you'd done?

I didn’t expect to keep Bloke and Oliver on the farm for the season. My impulse was to get them out of there and on the road to ‘safety’. But I’m so glad I made the decision for them to stay and to see the characters in their natural habitat and explore Bloke’s connection with his farm. The show would have been wildly different and far less focused if they took off in episode two.

Maybe I would’ve done more with Lambie? Audiences seem to absolutely love him - I should’ve guessed, he’s our version of Maggie Simpson or Grogu or something!

Will there be more Bloke? If so, who would you love to have in the cast and why?

I don’t know if it’s up to me. Of course, I’d love to carry on Bloke and Oliver’s story and I certainly have ideas but it’s not my decision. I guess that’s NZ On Air’s choice - the powers that be. It would be amazing to do another season. People seem to want it. Being able to build out the team, make a bigger, grander thing and work with the people I’ve gotten so close to throughout the production.

In terms of dream cast, I’d love to have Jemaine Clement and Bret Mckenzie in the Blokeverse - I’m just a big fan and I think they’d be great as a couple of Bloke’s mates. Jackie Van Beek and Kura Forrester would also be amazing. 

What's next for you - and what do you hope people will get from seeing your show?

I’m not quite sure yet what I’m doing next. Things are beginning to crystallise and after the success of Bloke, I signed with The Gotham Group, a Hollywood-based management company. Lately, I’ve been having a number of meetings with executive-type people in the U.S. so we’ll see if something will take shape from that.

Conversely, I’m continuously working on new, independent things. My mates and I shot a horror/comedy feature film a few weeks back and those sorts of projects will always be the most rewarding to work on.

With BOTA, I hope people connect in some way to the characters. It’s easy for me to do so because I created them and know them as real humans, but I hope there’s something to cling on to and get slightly emotionally invested. And of course I hope people laugh - that’s important too I guess.

Pixies: Live Review

There are many things you can guarantee with a Pixies concert.

Whether it's the ferocious crunching guitar work of Joey Santiago, the punishingly deep rhythms of drummer David Lovering, the primordial scream amd the snapping, snarling vocals of Black Francis or the bass work of new addition Emma Richardson, there's a well-oiled machine that's been pumping out music on the college rock scene for decades.

Credit: Tom Grut

But what's truly unexpected in the first concert of their New Zealand tour which stretches over two-night residencies in Auckland and Wellington is to hear the dulcet tones of Black Francis speaking to the crowd, which is mainly comprised of older-end middle-aged members and youngsters not born when the albums were first released.

Clocking up some ten studio albums during their time since their formation some 40 years ago, the band's back catalogue is not in doubt, and their aloof on-stage presence only added to the mystique.

But sauntering onto the stage, dressed in the traditional black troubadour outfit and sunglasses along with his bandmates, and supping from what suspiciously looks like a mug of something normal, he opens by thanking the crowd for coming along, having given them a friendly wave. It's a positively seismic moment for the group and fans who seem collectively taken aback.

And throughout the 100 minute swathe through the entirety of the brilliant Bossanova with its surf-rock anthems and UFO medleys and the more rockier Trompe Le Monde, Francis is keen to assume the role of a narrator, telling the audience where the group ended up in certain moments on the albums, joking that some songs are their silly ones (how he introduces the ever brilliant Dig for Fire, a live and session favourite for decades - and rightly so) and relating the fall of the college rock era. It's the most the audience has ever heard him speak outside of rare interviews.

1990's Bossanova and 1991's Trompe Le Monde were the group's last records of the decade, but lacked none of the edge of the band, and showcased their penchant for harmonies, as well as the deepening of a back catalogue that would become session favourites with DJs such as the UK's John Peel and live-set essentials. It's an intriguing premise in Bossanova's case to do the whole thing live as it relies more on a melody and ear for harmony than Surfer Rosa and Come On Pilgrim brought - but it showcased a welcome maturity and an ear for medley that coursed through their career.

Credit: Tom Grut

As the first of a two-night residency in both Auckland and Wellington, those 1990s stone-cold classics got an airing in their entirety, with a polite moment of Francis telling the audience after some background, "Blabbity, blah - here comes Bossanova."

It's an intriguing prospect to do a live rendition of an album. It leaves little room for manouevre, thanks to a tight structure and an expected setlist. Even the lead singer noted how short their songs were at one point.

In truth, Bossanova has always been a superlative album and what follows is an excellent reminder of why. Bathed in blues, oranges and delivering their live renditions with calm and accurate precision, Pixies unleashed some of the best tracks of the 1990s once again in 2025, with every single one sounding as fresh, urgent and as occasionally dirty as they did back then. (Though early vocals seemed lost in the mix, something that was quickly corrected.)

As the blue lights surrounded the band during Velouria, phones went aloft from the audience to catch the song and the moment; the growing cacophony of Is She Weird saw selfies from various audience members keen to capture the song's urgency and harmony. But the continual punch of the All Over The World, Dig for Fire, Down To the Well and The Happening (one of the best-ever songs Pixies made) showcased the group's contrast and appeal.

Soulful harmonies, melodies and Francis' guttural roar all sound as fresh now as they did then, a reminder of the power of the anguish and vocal range he's always been able to call on. Yet as a group, Pixies' power has always come from the fact each member of the group cohesively gels, creating the wall of sound they've become synonymous for - and which, 40 years on, shows no sign of abating.

There's even time for frivolity as Trompe Le Monde's opening track is messed up by Francis and he laughs, exhorting Joey to "go one more time". There's a looseness to the dynamic between the group even though the set is tightly structured and controlled, a comfort that comes from decades of knowing each other's ins and outs and the respect for the tunes they deliver.

Credit: Tom Grut

The one-two punch of Planet of Sound and Alec Eiffel pushes the Auckland crowd into a pogoing and moshing frenzy, and a fond recollection of how "the sun was lower in the sky and shone less bright" intros nicely how the group found their love for the Jesus & Mary Chain's Head On. 

Yet, in truth, it's just great to hear songs like The Happening, Palace of the Brine and Stormy Weather dispatched to audiences and in the context of a live album being played, it may feel like there's no surprises as you know the track order, but collectively, these songs still sound as cohesive, intense and as exceptional as they did in the 1990s, delivered by a group that's consistently and constantly on form.

While the stage set-up may have lacked some of the creativity of their overseas shows (no sign of the Trompe Le Monde eyes that graced Manchester), the simple P of their name held court aloft the Auckland Town Hall, changing into different hues as the songs played out. Every single light choice bathed the band in their glory and added much wherever in the room you were.

Credit: Tom Grut

An extra three-punch finale of Wave of Mutilation's surf version, Where is My Mind and Everlong may have closed off proceedings, but despite the crowd's ecstasy at those final numbers, this is a show that worked well as a whole, improved the idea of simply putting on the album and listening to it, and which really demonstrated that when they're on the top of their game, there's no one better than Pixies to make the college rock era live on forever.

(Make sure to get there early to see support act Elliot & Vincent, an incredible powerhouse duo that more than hold their own as openers to Pixies and who won over plenty of new fans with an incredibly assured performance as openers.)

Pixies play Auckland Town Hall on Monday November 24 with a classic set of hits, before heading to Wellington for a 2-night residency of Bossanova and Trompe Le Monde live, and a night of classic hits.

What's on Shudder in December

Here's everything that's streaming on Shudder in December

Reflection in a Dead Diamond – Shudder Original Film

New Film Premieres Exclusively on Shudder and AMC+ Friday 5 December

When the mysterious woman in the room next door disappears, a debonair 70-year-old ex-spy living in a luxury hotel on the Côte d’Azur is confronted by the demons and darlings of a lurid past in which moviemaking, memories and madness collide.

Influencers – Shudder Original Film

New Film Premieres Exclusively on Shudder and AMC+ Friday 12 December

In the sun-drenched countryside of southern France, CW (Cassandra Naud) lives a quiet idyllic life with her girlfriend Diane (Lisa Delamar), hiding a dark obsession with murder and stolen identities. During an anniversary getaway, they cross paths with Charlotte (Georgina Campbell), a bold, alluring influencer whose curiosity quickly turns intrusive. When CW acts on a violent impulse, the consequences spiral out of control, and as Diane begins to suspect the truth, CW’s carefully constructed life threatens to collapse around her. 

The Boulet Brothers’ Holiday of Horrors – Shudder Original Special

New Special Premieres Exclusively on Shudder and AMC+ Tuesday 16 December

From The Boulet Brothers (The Boulet Brothers’ Dragula) and David Dastmalchian (The Suicide Squad, Late Night with the Devil) comes The Boulet Brothers’ Holiday of Horrors, a chilling holiday_themed horror special produced by Boulet Brothers’ Productions and Good Fiend Productions. The film features four original shorts, each written and directed by a different genre powerhouse: The Boulet Brothers, Dastmalchian, Akeela Cooper (Malignant, M3GAN), and Kate Siegel (The Haunting of Hill House). Starring Bonnie Aarons (The Nun), Steve Agee (Peacemaker), and Tracie Thoms (Death Proof), the anthology blends atmospheric horror, practical gore, and haunting holiday imagery into a new seasonal classic.

The Creep Tapes Season 2– Shudder Original Series

New Episodes Premiere Fridays Exclusively on Shudder and AMC+ Until the Season Finale on 19 December

From writers and executive producers Mark Duplass and Patrick Brice, The Creep Tapes season two will continue to expose a collection of video tapes from the secret vault of the world's deadliest and most socially uncomfortable serial killer (Duplass). Unfortunately, as the tape rolls, the killer’s questionable intentions surface with his increasingly odd behaviour and the victims will learn they may have made a deadly mistake.   Guest stars this season include David Dastmalchian (Late Night with the Devil, Dexter: Resurrection) Katie Aselton (The Morning Show, The League), and Robert Longstreet (Midnight Mass,The Haunting of Hill House).

• The Creep Tapes– Christmas Episode Premieres Friday, 12 December

Nick is confronted by his therapist's odd behavior during an emergency therapy session on Christmas Eve.

The Boulet Brothers’ Dragula: Titans Season 2 – Shudder Original Series

New Episodes Premiere Tuesdays Exclusively on Shudder and AMC+ Until the Season Finale on 9 December

In The Boulet Brothers’ Dragula: Titans season two, fourteen of the fiercest drag artists from past seasons (most of them top three finalists and fan favorites) will return to battle in design, performance, and makeup_based challenges inspired by horror, science fiction, fantasy, and the supernatural. The competitors will have to survive the show’s pillars of Filth, Horror and Glamour in order to win the crown and a $100,000 grand prize, a headlining spot on a forthcoming world tour, and the title of “Queen of the Underworld”. Hosted by Dracmorda and Swanthula Boulet, this season will feature a variety of guest judges & horror/genre royalty including David Dastmalchian, Jennifer Tilly, Todd McFarlane, Kate Siegel, Don Mancini, Bonnie Aarons, Akela Cooper, Twin Temple, Peaches Christ, Steve Orlando, Ryan Turek, James A Janisse & Chelsea Rebecca and season one winner, Victoria Elizabeth Black.

The Haunted Season: The Occupant of the Room

New Film Premieres Exclusively on Shudder and AMC+ Monday 1 December

From renowned author and filmmaker Kier-La Janisse (Woodlands Dark and Days Bewitched: A History of Folk Horror), The Haunted Season is a series of chilling horror tales following the classic tradition of telling ghost stories for Christmas. The festive new film in the horror anthology series, The Occupant of the Room is based on the classic chiller of the same name by Algernon Blackwood about a schoolteacher whose late-night arrival at a hotel in the Alps without a reservation leaves him with no option but to accept the room of a missing hotel guest – leading to a sleepless night full of strange and uncanny occurrences

What's on Neon in December

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

Horizon: An American Saga - Chapter 1 (December 1)

Chronicles a multi-faceted, 15-year timespan of pre- and post_Civil War expansion and settlement of the American West. Experienced through the eyes of many, the epic journey is fraught with peril and intrigue, exploring the lure of the Old West and how it was won – and lost – through blood, sweat,and tears.

Stars: Kevin Costner, Sienna Miller, Sam Worthington, Giovanni Ribisi

The Apprentice (December 2)

Eager to make a name for himself, a young Donald Trump falls under the spell of Roy Cohn, the cutthroat attorney who helped form the Trump of today.

Stars: Sebastian Stan, Jeremy Strong

Bluey Season 3 (December 21)

The adventures of Bluey, a lovable blue heeler puppy who lives with her mum, dad and little sister, Bingo. In each episode, Bluey turns her everyday experiences into elaborate games that unfold in unpredictable and often hilarious ways.

DECEMBER - NEON MOVIE

CONTENT BY DATE

01 The Christmas Chocolatier

01 Everything Christmas

01 Holiday Road

01 Horizon: An American Saga – Chapter 1

01 Laughing All The Way

01 Sasquatch Sunset

01 The Thicket

01 Time For Him To Come Home For Christmas

02 Happy Howlidays

02 Holiday Hotline

02 Kneecap

02 The Apprentice

02 The Last Stop In Yuma County

03 I Am The River, The River Is Me

03 Love of the Irish

03 Memoir of a Snail

03 Milked

03 Welcome To The Darkness

04 My Christmas Guide

04 The Royal Nanny

04 Until Dawn

05 Fear Below

05 Jingle All The Way

06 Jane Austen Wrecked My Life

07 One From The Heart

08 Love on the Danube: Love Song

08 The Night Before

09 Love on the Danube: Royal Getaway

10 Love on the Danube: Kissing Stars

11 Greenland

12 Inside Man

12 Non-Stop

13 Bruce Almighty

13 The Star

14 A Beautiful Mind

14 Dark Game

15 Friendship

16 Man Of The House

17 Love On The Right Course

19 Laughing All The Way

19 Out Of The Furnace

20 Hugo

21 Still Alice

25 Boiling Point

26 Hard Home

27 12 Years A Slave

27 Gambit

28 Four Letters of Love

31 Hacksaw Ridge

 

DECEMBER - NEON TV

CONTENT BY DATE

NEON MEDIA HIGHLIGHTS – DECEMBER 2025

02 Butterbean’s Café S1

02 The Loud House S1-3

02 South Park S1-2, 12-13

02 SpongeBob SquarePants S1-3

03 Bump (S5) Christmas Special

03 CatDog S1-2

03 Rugrats S1-2

03 Bananas In Pyjamas S1-2

04 Dora S1-2

04 Octonauts S1-4

04 The Sound of Christmas Special

05 Nathan For You S1-4

06 Teenage Mutant Ninja Turtles S1

06 Play School: Story Time S3-6

06 Wiggles: Fruit Salad Big Show

06 Wiggles: Wiggly Big Day Out

07 Bookish S1

08 Drunk History S1-2

10 Under the Banner of Heaven S1

11 Key & Peele S1-5

12 Paid In Full: The Battle For Payback S1

13 South Park S28

15 Michal And Moe S1

21 Bluey S3

23 Beyond The Gaze: Jule Campbell’s Swimsuit

Issue

26 Murder At The End Of The World S1

28 Murder Before Evensong S1

 

MOVIES

 

Mickey 17 (December 4)

Unlikely hero Mickey Barnes finds himself working for an employer who demands the ultimate commitment to the job – to die for a living.

Stars: Robert Pattinson, Naomi Ackie, Mark Ruffalo, Steven Yeun

ELF (December 1)

When one of Santa’s elves learns that he’s actually a human, he sets out on a quest to New York City to track down his birth father and find his true place in the world.

Stars: Will Ferrell, James Caan, Zooey Deschanel

Holiday Baking Championship Gingerbread Showdown S2 (December 1)

Jesse Palmer hosts as three teams of gingerbreaders and baking assistants take on gingerbread builds based on a theme. The gingerbread-obsessed artists also face baking twists that can make or break their chances at the prize worth $10,000.

National Lampoon's Christmas Vacation (December 1)

The Griswolds are hoping for a cozy Christmas at home, but their out-of-control relatives – and a few other surprises – make for a hectic holiday.

Star: Chevy Chase, Beverly D'Angelo, Randy Quaid, Johnny Galecki

DECEMBER – HBO MAX ON

NEON TV CONTENT BY DATE

01 Elf

01 House Party

01 National Lampoon’s Christmas Vacation

04 Mickey 17

09 The Devil is Busy

10 Atsuko Okatsuka: The Intruder

18 Critical Incident: Death At The Border

19 Counting Crows: Have You Seen Me Lately?

26 Happy and You Know It

27 Day of Reckoning

 

DECEMBER - HBO MAX ON NEON MOVIE CONTENT BY DATE

01 The Bakersfield 3: A Tale of Murder and

Motherhood S1

01 Batwheels (S2) Christmas Special

01 Booba S5

01 Holiday Baking Championship: Gingerbread

Showdown S2

02 Rizzoli & Isles S1-7

03 Expedition X S5

05 Gold Rush S16

08 Batwheels S2

09 Forever S1

09 Take My Tumor S1

09 The Dark Money Game S1

16 Sex Diaries S1

20 Tiny Toons Looniversity: Winter Blunderland S1

21 Teen Titans Go! S9 Christmas Special

22 Barney’s World S1

22 The Tech Bro Murders S1

29 Jellystone! S3