At Darren's World of Entertainment - a movie, DVD and game review blog.
The latest movie and DVD reviews - plus game reviews as well. And cool stuff thrown in when I see it.
Developed by Sam Eng Published by Devolver Digital Platform: PS5
The skate sim has run its course.
In truth, while the likes of Tony Hawk made it a profession to skate, the genre has become too fixated on popping the perfect ollie or grinding away for points.
Enter Skate Story, a game that within its opening moments flips the genre on its head and makes the concept of a skating sim and its tutorial feel fresh and vibrant after years of tedium and similarity.
In this game, from Sam Eng, you're a demon who yearns to escape the underworld, trapped as he is by the sight of the glowing moon, hanging full in the sky. An opening prologue tells you the moon keeps the demons down - but that one is fed up of the oppression and looking for a way out.
That way out, is to become glass, skate and consume the moon. Yes, it sounds bonkers but within the opening moments of chasing a rabbit through portals, popping ollies and kick flips, Skate Story had singlehandedly changed the game in more welcome ways than one.
Visually, it's a psychedelic, abstract affair. Colours refract through the character as if they were a prism, a demon on a quest with easy controls to boot, Skate Story visually soars. Yet it never changes away from the mechanics of a skating game as the story progresses and while you'll need to remember combos, the game's way of integrating those in feel smart, clever and above all, fluid.
There's a narrative adventure here than propels Skate Story along, rather than a skater sim that's a slave to its mechanics. It's a vital distinction and one that makes Skate Story a joy to play, not a chore to grind.
It's also best to enjoy the story as it unfolds in its weird touches and its surrealist edges. This is where Skate Story excels - the creativity that Eng has brought to the genre is nothing short of admirable and while 2025 may be racing to a close, this is once again proof that indie titles have freshened the game immensely this year - and Skate Story is a welcome addition to the brilliant pantheon of great games of 2025.
Cast: Brad Pitt, Javier Bardem, Kerry Condon, Damson Idris
Director: Joseph Kosinski
In many ways the racing film has become largely narratively redundant.
An underdog story in whatever form it takes with the inevitable mix of racing and a diabolical crash that threatens everything, its beats are obvious to all.
So it is with F1 the movie, a film that brings nothing new to the genre and despite the promises of its director to take you further into immersion than you've ever been before and yet somehow offers nothing different to donning a VR helmet and playing PlayStation's Gran Turismo series.
What it does have - aside from a fawning approach to glamourising the world of the track so much that it becomes a corporate video extolling its brilliance - is the laconic charm of Brad Pitt as washed-up racer Sonny Hayes.
With his surfer sunglasses, physique and laid back attitude Pitt exudes calm - albeit too much for a man whose demons are supposed to haunt him early on in the film.
Offered a chance by former colleague and now struggling team owner Ruben Cervantes (Bardem) to recapture his glory days and slay that white whale of defeat once and for all, Hayes finds himself embedded in the world of Formula 1 and in a team that doesn't want him complete with a rising star colleague who resents him.
But as Hayes brings his own unique style of maverick (and somewhat underhand) behaviour to the sport, is he doing what's best for him or for the team?
F1 the movie is cliché riddled with perfunctory dialogue that is as shallow as it comes. From exposition spouted by commentators as track voiceover and races that are reduced to truncated moments rather than a full-on event, the film finds itself saddled with elements of shallowness that are hard to shake.
And while the action is immersive enough and as high octane as you'd expect from a production scared to upset its endorsers, there's little tension on the track to warrant real suspense.
Off track doesn't fare much better unfortunately.
But in scenes where Pitt engages with others - chiefly love interest and team head technician Kate, played by Kerry Condon with warmth and heart there's a hint of what this redemption story could have been, rather than a cursory once-over the tropes of the genre.
Sadly though this is a film less interested in those vignettes and keener on impressing petrolheads revved up on Netflix series Formula 1: Drive to Survive.
Consequently this Pitt stop ends up feeling like nothing new, like a race has been run many times before and with results that are obvious to see from anyone who's ever watched any sporting underdog movie ever made.
F1: The Movie begins streaming on Apple TV from December 12.
Developed by BingoBell Published by Microids Platform: PS5
2025 has been a great year for creativity to reign in the gaming world.
With indie games and less-bloated titles ensnaring more players than ever, the push has been more about smaller teams getting their hooks into players.
The latest to do so is the open-world styling is Kaku: Ancient seal. You take the role of Kaku, a boy on a mission to restore balance in the world.
Living in the snowy mountains, he finds himself suddenly involved in a legendary adventure by a forgotten prophecy. and saddled with a helpful flying pig companion.
With a world shattered into four pieces, it's up to you to save the day. Armed with a club and a slingshot, Kaku must face battles and enemies by either stunning them or clubbing them outright. Coupled with Piggy's additional abilities, the game finds surprisingly charming ways to keep you engaged.
With a simplistic level of presentation and a solid flow, the game's open world and ease of play make Kaku a charming game to play along and to engrossing yourself in. Along with different environments, from mountains, to deep blue oceans, or from sandy cliffs, or lush forests, there's plenty to visually appreciate. Along with puzzles that sit in differing settings, the game has plenty to offer casual and hardcore platformers.
Along with simple skill trees and a gameplay that is easy for anyone to pick up and play, Kaku Amcient Seal once again shows that smaller games really do signal the future of the industry.
Cast: Emma Mackey, Jamie Lee Curtis, Julie Kavner, Woody Harrelson, Albert Brooks, Jack Lowden, Kumail Nanjiani Director: James L Brooks
Ella McCay is a film that likes its words.
But rather than revel in language and enjoy the witty uses of language, it's one that likes to saddle its characters with dialogue full of word salads and ways that people would hardly ever speak.
Supposedly wise beyond her years, the ever-brilliant Mackey's Ella McCay is on the cusp of greatness within the small town political world. A second-in-command to Governor Bill (a grounded and earnest Albert Brooks) she suddenly finds herself thrust into the top job after he's given a position within the Senate.
But as what should be Ella's pinnacle reaches its nadir, her estranged father (Harrelson) reappears, and a potential scandal involving her and her husband Ryan (Slow Horses star Lowden) emerges throwing her into crisis.
Ella McCay doesn't seem like it's sure of what it wants to be. Drowning in overly wordy dialogue with word salads falling from every characters' mouth, there's a distinct feeling of other worldliness here as characters speak in ways rarely witnessed by normal people.
As a result, the film seems at pains to keep its audience at arms' length as it pushes on with his Obama-hope-filled edges and tale of a sister reconnecting with her agoraphobia brother.
There are some tender moments within and Curtis' screentime with Mackey feels lived in and real, their disappointment at how family have treated them feeling realistic and natural- as opposed to every other bit of dialogue throughout this.
And Julie Kavner aka Marge Simpson is a brilliantly human presence as Ella's long-suffering PA, confidante and friend - and narrator of proceedings.
There's a nonsensical ending too which wraps up everything in an unwanted bow, but with such abruptness you'd get whiplash - if you were so invested.
Ultimately Ella McCay is a flailing film, one which talks about hope coming from trauma. Unfortunately, the trauma is so great here, the only real hope is that the movie will soon end.
Cast: Joaquin Phoenix, Pedro Pascal, Emma Stone Director: Ari Aster
Ari Aster's latest plunges us back into the world of lockdowns, division and isolationism.
Joaquin Phoenix plays Joe Cross, the sheriff of smalltown Eddington, a petty-minded man who lives at home with his wife who abhors his touch and his conspiracy-filled mother.
Refusing to wear a mask despite a state-wide mandate enforced by Eddington's mayor Ted Garcia (Pascal, woefully underused), Cross decides after a confrontation in a supermarket where he defends a maskless inhabitant to launch a bid for the mayoralty.
What happens after is a growing schism and farce as things begin to spiral murderously out of control.
Aster's desire to go back to late May 2020 is supposedly about satire, but all this occasionally rambling story does is simply present a "remember when" mentality, rather than delving into the issues. Throwing in Black Lives Matter as well serves a much similar purpose.
While most of his back catalogue has seen hysteria and paranoia involved in some shape or form, Eddington simply becomes another entrant rather than a stunning addition.
(It's also telling perhaps how divided we still are that of all the insane conspiracy theories put up on screen, not everyone in the entire audience laughs).
Phoenix is insanely watchable as the desperation sets in and his behaviour at the 90 minutes mark is deeply shocking. Yet it's never clear he's anything but immersed in his small man mentality beforehand so there's no sense of a descent into it. However, that doesn't stop him being from anything less than compelling throughout a bloated run time.
Aster is more impressive when the film heads into darker territory with his eye for unsettling comes to the fore and the blood begins to flow.
But while large swathes of Eddington compel, the ultimate lack of coalescing hurts this - a film about how insanity pervades, how big tech sneaks through when nobody's looking and how those mired in their echo chambers have become amplified in their ignorance.
It's got the trappings of something very interesting, but much like any conspiracy theorist when confronted, it doesn't have as much to say as you'd hope.
Cast: Jai Courtney, Hassie Harrison, Josh Heuston Director: Sean Byrne
An unashamed B-movie that knows exactly what it wants to do and does it with a degree of glee, The Loved Ones' director Sean Byrne's latest is all about twisting the norm.
A swaggering Courtney plays Tucker, the owner of a swim with sharks boat who hides a deadly secret. However, when Harrison's surfer drifter Zephyr crosses his path, she's suddenly in a fight for survival.
Courtney's rarely been better, mixing charisma with menace in the opening scenes with equal aplomb. It helps that he's clearly decided to throw caution to the wind and embrace everything that's asked of him - from espousing speeches that drip with sarcasm to dancing around in underpants and kimono, he burns up the screen, keeping things on just the right side of what's needed.
But it's not just his film - Harrison's Zephyr is a "final girl" who does more than what's needed for her arc, where she goes from having nothing to live for to someone fighting for survival. The script keeps things on the right side of grounded as well, and while there are a few moments where there are lulls given the fact it's a four hander film, there's much to keep audiences invested.
There are also some beautifully shot sequences of sharks as well - Byrne's clearly got an eye for what works in the water. And while the peril's largely on the boat, this film's barely at sea at all - it does exactly what it needs to do and does it with its eye squarely on the prize.
Cast: Brendan Fraser, Takehiro Hara, Mari Yamamoto Director: Hikari
Rental Family has potential - an idea inspired by a side of Japanese life barely seen on screen and a story that could have teetered on exceptional.
Unfortunately, it falls into the mawkish side of things, and led by a Brendan Fraser who just falls back on looking glum in parts when the story demands it.
Fraser plays lost American actor Philip Vanderploueg, who broke through with a toothpaste commercial seven years ago and failed to reach any further heights. When his agent calls the jobbing actor, offering him a role that requires a sad American and pays well, he finds himself thrust unexpectedly into a funeral.
Afterwards, offered more work because the agency needs "a token white guy", Philip signs up, unsure of what he can give to the job and soon finds a connection he'd been missing in Japan. However, when he's asked to be the absent father of a young girl, whose mother wants to get him into a prestigious school, he finds himself in the toughest role he's ever had.
As an idea, Rental Family makes great fist of the need for connection in a world that sometimes shuns it. From plenty of interstitial shots of a busy Japan, swarming with people to scenes of Philip in his lonely apartment watching the lives of others, there's plenty of moments which mark out his inability to be accepted into life there.
Yet Hikari's story becomes one that dwells on its sentiment and makes its improbability stand out because of its narrative weaknesses. It's obvious that Philip is ill-equipped to be part of this world and the naivete that turns things around later on almost feels like an unabashed white saviour story.
Fraser is fine in the role, but the character development does evolve past a walking sad emoji in parts and as such, it holds back the film from excelling where it should. A more subtle approach and a building on the idea that he'll never fit in or understand (as one character tells him at one point) would have made this a more compelling and less mawkish watch.
As it is, Rental Family is a disappointment - it has its heart in the right place, but its execution leaves too much to be desired. And what could have been truly unmissable simply ends up feeling a syrupy mess that sadly sticks in the throat.
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.
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.
Here's everything streaming on DocPlay in January.
In the new year, discover remarkable stories from across the globe, streaming exclusively on DocPlay. From award-winning director Elizabeth Lo (Stray), Mistress Dispeller is an intimate and suprising portrait of a relationship under strain - and the lengths one woman will go to to save her marriage. Liverpool FC’s beloved coach Jürgen Klopp comes into focus in the four-part series; while local filmmaker Danny Ben-Moshe tells a personal story of Holocaust revenge. Two more exclusive titles premiere on the platform: the UK box office hit Wilding, which offers a look at an inspiring rewilding experiment; and I Am Martin Parr, a charming portrait of the influential British photographer which comes direct from British Film Festival screenings.
5 Jan
Doubters to Believers: Liverpool FC - Klopp’s Era (Exclusive)
Midway through the 23/24 season, Jürgen Klopp stuns Liverpool fans by announcing his departure. This series charts his final season and nine year tenure, showing how he turned doubters into believers, and led the club to Premier and Champions League glory. With exclusive interviews, we explore his coaching evolution, trust in young talent, and the reasons behind his emotional farewell.
8 Jan
Revenge - Our Dad the Nazi Killer
Three Australian brothers investigate whether their father and uncle, both Holocaust survivors, may have been involved in the deaths of former Nazis after the war.
12 Jan
Wilding (Exclusive)
Based on Isabella Tree’s best-selling book by the same title and a box office smash hit in the UK, Wilding tells the story of a young couple that bets on nature for the future of their failing, four-hundred-year-old estate.
19 Jan
I Am Martin Parr (Exclusive)
Known for his sharp wit, playful irony, and unflinching eye, Martin Parr has spent decades capturing the humour, absurdity, and humanity of everyday life. This documentary takes viewers beyond the iconic images, revealing the man behind the camera, his inspirations, quirks, and relentless curiosity about the modern world.
26 Jan
Mistress Dispeller (Exclusive)
Desperate to save her marriage, a woman in China hires a professional to go undercover and break up her husband’s affair. With strikingly intimate access, Mistress Dispeller follows this unfolding family drama from all corners of a love triangle.
Yet it's when the Garbage frontwoman reveals that this could be the last time they ever venture down here that the audience fully focuses.
Photo: Mike Kilpatrick
It's a bitter body blow to fans of the group which formed in 1993 and is part of the current wave of heritage bands touring New Zealand (Metallica, Pixies, Tool and Lenny Kravitz have all recently rocked the country), but the reality of the financial aspect of touring Down Under and the futility of trying to keep costs under control is brought sharply into focus in one of Manson's moments on stage.
She may spend much of a stormy night in Auckland wondering if she's talking too much, but the passion and power that tumbles from her mouth between songs and exhortations for a packed-out Town Hall crowd to join in is nothing that can be denied.
Photo: Mike Kilpatrick
Five songs in, after Run Baby Run, a platinum pony-tailed Manson finally addresses the crowd, asking for forgiveness if they "sound cliched" in their fulsome praise of New Zealand and expressing undying gratitude for the way fans have embraced their music over the years.
And as the set progresses, any transgressions are easily forgiven in this compelling mix of past and present. In truth, it's an absolutely ferocious Garbage that takes the stage, delivering hits from their 1995 debut ("Let's take a Dr Who's Tardis to the time before modern monsters", Manson teases before a hypnotic Not My Idea is unleashed) and songs from their latest, Let All That We Imagine Be The Light, via hits from their plethora of albums.
Prowling the stage and circling like a caged tiger, Manson's both playful and seductive as she parades between guitarists Duke Erikson and Steve Marker. As their industrial-tinged music fills the Town Hall with its howling melody, the crowd builds to an almost frenetic and frenzied edge in parts, all controlled by Manson's messianic motions and playful grins.
The group's never sounded better, never sounded tighter and never sounded so sure about what they're delivering. It's just a shame that this really could be their last visit to these shores, given how fresh they still sound, how urgent their music still lingers 30 years on and how rational Manson's political exhortations and ideas are.
Photo: Mike Kilpatrick
Before launching into Bleed Like Me, she provides context of how Interscope records lost faith in them and how their own single-minded ethos propelled them on; before a slinky and hypnotic Queer she delivers an impassioned speech urging kindness as she watches on as the US tramples over trans rights; and before Chinese Fire Horses, she tells how two journalists asked when she was retiring as she did press for an album launch. None of these moments topple over into preaching and even within the church-like surroundings of the Town Hall, the religious devotion she inspires by just simply delivering sense is a thing to behold.
The crowd laps it all up, but what becomes clear in this is just how much Garbage has had to fight for their own survival throughout their life and how with every obstacle in their way, they've continued to deliver and pushed back at every possible opportunity.
32 years on, it seems Garbage has lost none of their fire - or their urgency and catharsis.
The triumvirate of When I Grow Up, Push It and Cherry Lips in the final stretch of their 2-hour performance shows them completely in command of their audience and with material that still sparkles with urgency three decades on. It may be that the older tracks deliver the biggest cheers tonight, and an encore of Stupid Girl and Only Happy When It Rains sees the audience collectively lose their mind, but the band is revelling in being at the height of their powers.
Photo: Mike Kilpatrick
From Butch Vig's punishing rhythms on the drums to Steve and Duke's guitars-led melodies, every note is pitch perfect, every lick a perfect explanation of intention and every moment an unmissable one.
"Let's pretend tonight is our last night together" Manson says early on after bemoaning touring costs and promising they never want the fans to have bear that cost, before she then goes to shepherd her band to something unforgettable that reaches a ferocious bliss.
If it's their last time here, Garbage's single New Zealand date truly was special, a reminder of a band still overdelivering years after they even began and one that shows time does nothing to quell the absolute revolution they have nurtured within themselves for decades and within their devotees.
After being forced to cancel his planned 2023 dates to prioritize his mental health after being unable to finish his Glastonbury festival set, it'd be cruel to suggest there's pressure on the Scottish crooner to deliver.
In truth, it appears there's no bigger pressure than the one he places on himself, something which has won him hordes of fans because of his relatability- and more importantly, his fallibility.
Credit: Mahmoud Alhasan
Yet with the triumph of comeback single Survive delivering him the results he wants - and needs (as well as opening his 90 minute set) - it's not hard to see why his handful of dates have sold out in New Zealand.
Certainly a full crowd at Auckland's Spark Arena weren't there to deny him anything but love, something which the Scots singer wasn't about to let go without acknowledging.
Albeit after some three songs had been delivered. After the last notes, he stood in front of the crowd, which erupted in support of the songwriter everyman, allowing him to bathe in their adoration. It was only then the trademark Capaldi banter came out for an airing, taking in his mental health issues, his fears he'd never tour again and his desire to have a good night. From complaining about the fans blowing through his hair "like Celine Dion" to accepting someone's cock on stage, there were flashes of the humour and vulnerability that's endeared him to so many, has ensured endless radio airplay and guarantees you'll know at least one of his songs and join in the singalong.
Credit: Mahmoud Alhasan
And while the crowd hung on his every word, every moment that gave them a chance to scream they loved him, Capaldi was wise enough to acknowledge he only dished out ballads. And he was smart enough to acknowledge his own journey and that he was now in the best firm he's ever been in, delivering gutsy ballads with fine voice, mostly solo and in some of the gigs best moments, just with a guitar, mic stand and his own voice.
That he did all of this in a technically adept show that showcased his heartfelt earnestness and his powerful vocal range. All the ballads were there, complete with phone lights glittering around the arena. The likes of Before You Go, Something in the heavens and How I'm feeling all resonated when they should and the audience lapped up every second.
And yet, it felt a little hollow and safe, dadrock with your mates writ large for his target audience. With too many songs ending in blackouts and pauses on stage with gaps, the show's feel was disjointed, a staccato affair that left the audience to pick up the slack and some members to feel disconnected from what was on stage.
Credit: Mahmoud Alhasan
It's an interesting conundrum for Capaldi and where he goes next. Nobody would begrudge him his health and he was wise to take those years off, because he's returned an impressive performer who declared himself happier than he's ever been.
But the songs bled into each other, with only the more upbeat edges of Forget You one hour into the set left you feeling like some life had been kicked into proceedings. But it does feel like he's at a crossroads now, a singer whose very ordinariness and foibles won him mass acclaim and yet he's had to leave some of those behind for the right reasons.
Paradigms aside, it was a solid show and there's no doubting the sincerity that he showed when he thanked Auckland for sticking with him through it all.
In truth, as one of his songs says, you wish him all the best - but what he does next will really define his future path and it'll be fascinating to see if he can embrace it for his own longevity.
Developed by THQ Nordic Published by THQ Nordic Platform: PS5
The arcade racer has become a staple of the gaming world.
With the likes of the Forza series and also need for speed, the simple idea of speeding around an open world causing carnage and essentially racing for points and car unlocks I'd really a good, honest simple one.
And so it is with Wreckreation, a title that lives to follow in the footsteps of others of its ilk.
In fairness, it does a good solid job of achieving that - even if there's no official list of cars attached to the game.
From racing against others to rampage events where you have a time limit to crash out your opponents, wreckreation does what it needs to with a bit of flair and a truckload of playability.
While graphically there are some bugs with cars disappearing and even sections of the tunnels you're in, the game's flow is never really impeded and bizarrely, these faults play into the feel of the arcade racer.
Handling is fluid and the car response times are good too - even if you are likely to scream out when something smashes into you.
Perhaps there is a lack of innovation in progression and gameplay (an open world map with events cropping up seems mightily familiar) but for a bit of on the couch fun,Wreckreation delivers and you'll be surprised how much time you've lost to playing it without realising.
A solid experience, Wreckreation makes a good strong argument for the arcade racer and while it may not be an instant classic, it is a highly playable family-friendly title that's worth investing some father-son time in.
Developed by Little Sewing Machine Released by Maximum Entertainment Platform: PS5
Games within the horror genre are usually confined to a series of orchestrated jump scares and also a feeling of claustrophobia.
It's a genre which has served the gaming world well for a long time, and every once in a while, a new game comes along that tries something different. That game this time is Bye Sweet Carole, a horror-fantasy 2D adventure that shows there's reason to be optimistic about the swathe of titles hitting that spot.
In this latest, players are thrust into a hauntingly beautiful realm where dark fairy tales and nightmarish realities intertwine. Following the story of Lana Benton, a courageous young girl on a desperate search for her missing friend, Carole, in the ominous Bunny Hall orphanage, the game is a beautifully hand-crafted story that looks like no other titles out currently.
There's a lot of dialogue in the game as the title plays out, and that may put players off who are looking for a quick fix and an easy story. But with themes of grief and loss, there's a sense here of something developing and bubbling away, rather than simply shifting into easy gratification.
As a result, Bye Sweet Carole won't be for everyone, and while occasionally the controls feel a little difficult to manoeuvre Lana around, the game generally has solid gameplay and works well across its 10 chapter structure. Mixing in puzzles as it goes, Bye Sweet Carole makes a case for something completely difficult in the genre - and while some of the points of entry are locked behind cutscenes, patience does pay off here.
This is a game that rewards those willing to invest in it - that may occasionally be less than ideal, but it's worth the time to play something that looks and feels different.
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.
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.
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.
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.
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.
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 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.
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.
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