Wicked: For Good: Blu Ray Review

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

Picking up at the end of Wicked, Wicked: For Good plunges us straight back into the world of Oz. With Elphaba (Erivo, soulful and earnest) outcast and turned into a symbol of hate by the snake-like Morrible (Yeoh), Glenda (Grande, muted compared to the first) has been made into a figurehead of good to manipulate the populace.

But as the hunt for Elphaba continues, Glinda's forced to choose what's best as Elphaba heads on a collision course with the wizard of Oz (a usually eccentric Goldblum).

Not much really happens in the back part of the two films and there's a distinct feeling at times of scenes being pulled together with only the thinnest of threads. Many come together in a piecemeal fashion, leaving the film feeling episodic in parts, rather than cohesive.

Plus once again,it doesn't really seem to know how to treat its wheelchair-bound witch of the east, a problem that was obvious in the first, but may be due to the musical's script as well. It's just a shame Chu didn't look to rework this narrative for better effect.

There's also a distinct feeling that it lacks a big show-stopping number in the conclusion, something which leads to a feeling of a more perfunctory film in its narrative. Emotional moments that should hit hard often land with the thud of a flying monkey robbed of its wings. Often, the emotion comes from actors staring at the screen looking sad, rather than investment in the story and the consequences of actions.

Where Wicked: For Good does soar though is in its production's execution. Visually the film is nothing short of exceptional, a technicolor-manifesting spectacle of epic proportions.

From a truly surprising origin to the Tin Man to some musical numbers which are elevated by what's around them, via some impressively rendered elements of Oz, director Jon M Chu has a solid grasp on what can cause the script to lift above its more grounded and slight elements.

Ultimately, Wicked: For Good will appeal to fans who've enjoyed the first and whilst it feels like the lesser of the two films, that genuinely seems a source material issue, rather than an execution problem.

It's just a shame that this doesn't defy gravity and soar as much as it could.

Pulp: Live Review

He tossed teabags into the crowd.

He hurled a grape into the air and caught it. He climbed a speaker stack and seemed unsure how to get down.

He even told his band off a couple of times, exhorting them to stop like a petulant child.

And of course, he wiggled and gyrated in ways any quirky art student could who seemed to be ironically trying to rip off Madonna's Vogue.(Though thankfully, he didn't urge us to buy the curiously odd 3 set of women's briefs on sale at merchandise stand for $60.)

Yet, during the course of a 2 hour show, with an 15-minute intermission, Jarvis Cocker and Pulp, despite not having performed live for 5 months, showed why they're still just a blistering presence on stage and in the music world.

With no support, Auckland was thrown back into the heady Britpop era some 30 years ago when Different Class saw the group propelled into the stratosphere, thanks to the likes of Sorted for Es and Wizz, Disco 2000 and of course, Common People.

They opened with Sorted for Es and Wizz, and tossed out Disco 2000 along with Spike Island as if they were nothing and almost beneath them. But while the More track is a newer anthem, the originals still sound as fresh as they did back then, their irresistible mix of bass and synth combining with Jarvis' sexual preoccupations and ironic takes on the scene of the time still proving to be a heady concoction.

In between it all, Jarvis proved to be the drawcard, his slightly baffled, scruffy-looking English professor still cutting a commanding figure on stage and delivering sardonic wry humour and genuine curiosity about whether there's animosity between the North and South Island of New Zealand, before shelving that to launch into a song. Despite promising to return to explore that, he never did.

And while much of Pulp's appeal lies with its frontman, the entire band (totalling nine on stage at one point) showed they've lost none of their lustre for live performance in the intervening years - and the five months they've had since their last gig.

But in truth, while Common People sent Auckland into an absolute frenzy (and was seemingly close to coming victim to overrunning and someone letting off a blue flare in the middle of the general admission), it was the first song of the second half that really proved to be the coup de grace of the entire night.

Stripping back to just the four members, Cocker promised to deliver an insight into why the band reformed and decided to tour, delivering an absolutely beautiful version of Something Changed that was enough to send the stadium into hushed reverence and singalong mode.

It took a lot to top that - but the band did, performing their new song gifted to the latest War Child album, a single that had only been released two days prior and which received its live debut, despite Jarvis warning us it was noisy. Begging For Change was simply excellent, a raucous, rambunctious and rowdy number that will easily become a live favourite, with its heavy riffs and singalong elements.

Pretty much most of More got an airing, their first in 24 years - but there's showmanship here that excels in a stage show that's about the band's greatest hits, as well as theatrics. From lounging in a throne during a red-soaked This Is Hardcore to a huddled group seeing the audience off with A Sunset like a last-gasp at a late night pub hangout, the More tour is the band at their absolute strongest and most unmissable.

There's still a confidence about Pulp and an innate need to feel appreciated by the masses - underneath it all, though, there's no need for them to worry - tributes to those who helped write the songs, people he met in Auckland during the day that he "promised he'd tried and remember" and a shout-out to NZ film director Florian Habicht, as well as changing one of the lyrics within Sorted for Es and Wizz to mention Auckland, it's all a welcome home-run for Pulp.

They made us feel alive again - and without fear or exultation, let's all meet up in the years to come. We promise we'll be there by the fountain down the road, Jarvis.

Pulp Auckland 2026 setlist:

Sorted for E's & Wizz

Disco 2000

Spike Island

Razzmatazz

Slow Jam

F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.

My Sex

Underwear

Farmers Market

This Is Hardcore

Sunrise

Intermission (15 mins)

Something Changed

The Fear

The Hymn of the North

Begging for Change

(Live debut)

Acrylic Afternoons

Do You Remember the First Time?

Mis-Shapes

Got to Have Love

Babies

Common People

A Sunset

Final Fantasy VII Remake Intergrade: Xbox Series X Review

Developed by Square Enix
Released by Bandai Namco
Platform: XBox Series X

Expanding on the 2020 Intermission remake, Final Fantasy VII Remake Intergrade continues the trend of updating the original game with a sheen and polish that makes it compelling to play and pleasing on the eyes.

With a version that offers Graphics and Performance levels of visual flair, Final Fantasy VII Remake Intergrade makes playing the game once again an enjoyable outing for those wanting to dive back into the world.

For those unfamiliar with the story, players follow Cloud Strife as he becomes a mercenary with the eco-terrorist group Avalanche, which is abusing the planet's life essence. The story begins with him on a mission to blowing up a reactor before segueing into a wider yarn about the consequences of the chain effects of his action. 

The story's less of a thing here, because it's all about the hack and slash elements of the game, which sees blocking, dodging and attacking combining in one continuously enjoyable melee of action. Given how polished the new version looks, this is enjoyable to dive back into once again - even if there has been a six-year wait for this exclusive to head onto other devices.

The game's fluid and immersive and with animation that's worth watching, this latest version of Final Fantasy, finally making its XBox debut, is a game that really if you're a fan of the genre, you can't afford to be without.

EPiC: Elvis Presley in Concert: Movie Review

Cast: Elvis Presley

Director: Baz Luhrmann

There's no denying the electricity of Elvis Presley in director Baz Luhrmann's latest attempt to continue the King's legacy.

It's clear he's not left the building as Luhrmann mines some 50 hours worth of footage of Presley playing a series of concerts in Las Vegas in what feels like the perfect companion piece to the 2022 biopic which starred Austin Butler.

Cross-cutting performances, throwing together backstage rehearsals and just generally mining the 1970s popularity of Elvis works wonders - up to a point.

Beginning with a quick run-through of where the King came from, the energetic doco format seems to be the traditional winner at the start of this. Elvis is decried by those who believe he's Satan in a jumpsuit because of his dance moves, he narrates his own boredom at the tedium of his Hollywood career that became a cookie-cutter version of his first-ever success and he promises to shake up his career with his Vegas residency in the 1970s.

It's all very familiar fare - and yet, when Luhrmann simply lets the camera capture the sheer charisma and presence of Presley, it becomes something that's a singular concert experience - even if it does appear to want to be spliced together by modern technology, close-ups and cross-cutting between some 10 concerts that were recorded for posterity - and then lost.

Granted, there's a technical adeptness in the way Luhrmann switches effortlessly between appearances, and he even gives the backing band time to shine, but he can't help himself from some editorialising, which detracts from the overall feeling.

The first mention of Colonel Parker, Presley's handler, is a voiceover that stands atop footage of someone holding a gun to Elvis' head in a film; and footage of his wife Priscilla is set to a live rendition of Always On My Mind. There's a clear bias here, which isn't really needed.

And yet, cynicism aside, this is a very real, very impressive and just a joyous musical experience that seems in keeping with what the King would have wanted. Along with comedic asides and genuine banter backstage and on stage itself, Presley proves here why he still has the power and sway.

From the white-jumpsuit version of Suspicious Minds that's become infamous to the speeded-up Hound Dog and plenty of other hits like Burning Love, you'd have to be dead to not tap your toes to this.

EPiC is an enjoyable enough experience; and if you're a King fan, it's essential viewing. But Luhrmann's desire to be a little too clever occasionally takes you away from the spotlight of the King - and that's a crying shame.

Introducing Blink Outdoor 2K+: Next-Generation Home Security with 2K Resolution

The local launch sees the introduction of Blink Outdoor 2K+ to New Zealand 

Powered by Blink’s custom silicon chip technology, outdoor 2K+ offers a host of leading features and efficiency, while maintaining up to two-years battery life 

With impressive visual clarity and strong low-light performance, homeowners can expect round the clock piece of mind without breaking the bank 

Home security just got sharper. Today, Blink is expanding its 2K camera line-up with the all-new Blink Outdoor 2K+, a wireless camera with 2K video resolution, 4x zoom capability, enhanced low-light performance, audio with noise-cancelling two-way talk, and smart detection like person and vehicle notifications (with a Blink Subscription Plan). It’s also equipped with Blink’s signature long-lasting battery life thanks to the company’s custom silicon chip technology, plus Blink’s weather-resistant design, giving customers the freedom to install their cameras anywhere. 

 

See More of What Matters

The Blink Outdoor 2K+ captures video in stunning 2K resolution (2560 x 1440), revealing rich detail and enhanced colour. The video quality ensures you can verify package delivery details, see visitors clearly or identify vehicles in your driveway. With 4x zoom capability, you can get a closer look when you need it, without losing crucial visual information. 

 

Colour Vision in Low Light 

One standout feature is the camera’s enhanced low-light performance with colour vision. With just ambient lighting, the Outdoor 2K+ delivers colour video at low light levels before switching to infrared black and white, providing around-the-clock peace of mind. This means you can see important details like the colour of a vehicle or clothing, even when natural light is limited. 

 

Smarter Detection and Enhanced Audio

With an optional Blink Subscription Plan (sold separately), the Outdoor 2K+ offers smart notifications for person and vehicle detection, using edge processing to distinguish between people, vehicles, and motion. This helps filter out false alarms from things like moving branches or small animals, ensuring you’re only getting notified about what matters most. 

 

Built to Last

Powered by Blink’s custom silicon chip technology, the Outdoor 2K+ unlocks advanced features and efficient performance, while maintaining Blink’s up to two-year battery life based on battery efficiency settings with 1080p resolution and typical use. Blink’s weather-resistant IP65-rated design also stands up to rain, dust, and severe weather, keeping your security running strong all year round. Its sleek, compact design also makes it suitable for indoor use, offering whole-home versatility. 

 

Availability

The Blink Outdoor 2K+ is now available in black and white for $129.00 NZD for a one camera system, including a Sync Module Core (see below for multi-pack pricing). For local storage, use the Sync Module 2 with a USB drive (sold separately). With a Blink Subscription Plan, access unlimited cloud storage for motion events and live view recordings for up to 60 days.  

 

Multi-pack pricing: 

1 pack: NZ$129

2 pack: NZ$229

3 pack: NZ$309

5 pack: NZ$419

What's on Prime Video in March

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

This March Prime Video delivers gripping crime dramas, buzzy new originals,and highly anticipated returning favourites.

Global hit Australian series Deadloch returns for Season Two and is entering its Tropical Gothic era, heading to the sweltering Top End for a sticky new case; Guy Ritchie delivers an irreverent, action-packed origin story of the world’s greatest detective, Sherlock Holmes in Young Sherlock.

Nicole Kidman and Jamie Lee Curtis lead an all-star ensemble in the eagerly awaited Patricia Cornwell adaptation, Scarpetta; critically acclaimed animated series Invincible is back with Season Four; and Riz Ahmed stars in new chaotic comedy series Bait.

All this and more, streaming in March on Prime Video.

Deadloch Season 2 (March 20)

Deadloch, the global hit series created by Kate McCartney and Kate McLennan, returns for Season Two. Forget Tassie Noir - Deadloch is entering its Tropical Gothic era with the new season set in Australia’s sweltering Top End, aka the Northern Territory. 

Detectives Dulcie Collins (Kate Box) and Eddie Redcliffe (Madeleine Sami) are in Darwin to investigate the death of Eddie’s former policing partner Bushy. However, their plans are soon diverted when a body part is discovered in a remote town called Barra Creek. With the Northern Territory police force focused on a large-scale search for two missing backpackers, Dulcie and a very reluctant Eddie are tasked with identifying the John Doe.  

Sticky, sweaty and juggling comprehensive thrush infections, the detectives find themselves embroiled in a world of crocodile-fuelled tourism, overstretched Indigenous rangers, cagey locals, and seven-metre prehistoric predators – all of whom call Barra Creek’s stretch of land, and water, their home. As the humidity builds, and Eddie and Dulcie dig deeper, more questions arise for our duo – not only about the case, but the many secrets that lie beneath the surface of this small town.

The first two episodes premiere March 20, with new episodes released weekly, culminating in the season finale on April 17. 

Young Sherlock (March 4)

From visionary director Guy Ritchie, Young Sherlock is an irreverent, action-packed mystery that charts the legendary origin story of the world’s greatest detective. When a charismatic, youthfully defiant Sherlock Holmes meets none other than James Moriarty he finds himself dragged into a murder investigation that threatens his liberty. Sherlock's first ever case unravels a globe-trotting conspiracy, leading to an explosive showdown that alters the course of his life forever. Unfolding in a vibrant Victorian England and adventuring abroad, the series will expose the early antics of the anarchic adolescent who is yet to evolve into Baker Street’s most renowned resident.

Young Sherlock stars ​​​​​​​Hero Fiennes Tiffin, Dónal Finn, Joseph Fiennes, Max Irons, Natascha McElhone, Zine Tseng, and Colin Firth.

Scarpetta (March 11)

Scarpetta brings Patricia Cornwell's iconic literary character to life in a gripping series starring Nicole Kidman as “Dr. Kay Scarpetta.” With skilled hands and an unnerving eye, this unrelenting medical examiner is determined to serve as the voice of the victims, unmask a serial killer, and prove that her career-making case from 28 years prior isn't also her undoing. Set against the backdrop of modern forensic investigation, the series delves beyond the crime scene to explore the psychological complexities of both perpetrators and investigators, creating a multi-layered thriller that examines the toll of pursuing justice at all costs.

Scarpetta stars Nicole Kidman, Jamie Lee Curtis, Bobby Cannavale, Simon Baker, Ariana DeBose, Rosy McEwen, Amanda Righetti, Jake Cannavale, Hunter Parrish.

Invincible Season 4 (March 18)

While the world recovers from catastrophe, a changed Mark fights to protect his home and the people he loves, setting him on a collision course with a threat that could alter the fate of humanity forever.

Invincible Season Four stars Robert Kirkman, Seth Rogen, David Alpert, Catherine Winder, Simon Racioppa, Margaret M. Dean, and Evan Goldberg.

Bait (March 25)

From Oscar and Emmy winner Riz Ahmed comes Bait, a comedy about Shah Latif, a struggling actor. His last chance to hit it big comes in the form of an audition of a lifetime. We follow him over the course of four wild days as his life spirals out of control and his family, ex-lover and the entire world weigh in on whether he is the right man for the job.

Bait stars Riz Ahmed, Guz Khan, Sheeba Chaddha, Sajid Hasan, Aasiya Shah, Weruche Opia, and Ritu Arya.

Pretty Lethal (March 25)

An action-packed thriller where five ballerinas, on their way to a prestigious dance competition, are barely on speaking terms when their bus breaks down in a remote forest. With no other options, they reluctantly seek shelter at an unsettling roadside inn run by Devora Kasimer (Uma Thurman), a reclusive former ballet prodigy. From the moment they arrive, something feels wrong—and their worst instincts prove right. As the situation turns deadly, the fractured team must set aside rivalries and weaponize years of brutal training, turning grace, discipline, and even pointe shoes into tools for survival.

Pretty Lethal stars Iris Apatow, Lana Condor, Millicent Simmonds, Avantika, Maddie Ziegler, Michael Culkin, Lydia Leonard and Uma Thurman.

From the world of John Wick: Ballerina (March 5)

Taking place during the events of John Wick: Chapter 3 – Parabellum, the film follows Eve Macarro (Ana de Armas) who is beginning her training in the assassin traditions of the Ruska Roma.

From the World of John Wick: Ballerina stars Ana de Armas, Anjelica Huston, Gabriel Byrne, Keanu Reeves, Lance Reddick, Catalina Sandino Moreno, Ian McShane.

Fight or Flight (March 12)

A mercenary takes on the job of tracking down a target on a plane but must protect that target when they're surrounded by people trying to kill both of them. 

Fight or Flight stars Josh Hartnett, Charithra Chandran, Marko Zaror, Katee Sackhoff.

Siren's Kiss (March 3)

Cha Woo-seok (Wi Ha-joon) receives a mysterious call from an informant who claims to have evidence of a fraud-related murder. Before revealing the truth, the informant falls to her death. Woo-seok’s investigation leads him to Royal Auction and its chief auctioneer, Han Seol-ah (Park Min-young), whose three fiancés have all died under suspicious circumstances. To expose the truth, or perhaps to test her, Woo-seok proposes they fake a relationship. As he uncovers her secrets, he realizes he may have stepped into a web he can’t escape—and that getting out could cost him everything.

Siren’s Kiss stars Park Min-young, Wi Ha-joon.

Good Luck, Have Fun, Don't Die (March 13)

A "man from the future" arrives at a diner in Los Angeles where he must recruit the precise combination of disgruntled patrons to join him on a one-night quest to save the world from the terminal threat of a rogue artificial intelligence

Good Luck, Have Fun, Don’t Die stars Sam Rockwell, Juno Temple and Haley Lu Richardson.

A Big Bold Beautiful Journey (March 29)

Some doors bring you to your past. Some doors lead you to your future. And some doors change everything. Sarah (Margot Robbie) and David (Colin Farrell) are single strangers who meet at a mutual friend’s wedding and soon find themselves on A Big Bold Beautiful Journey – a funny, fantastical adventure where they get to re-live important moments from their pasts and possibly alter their futures.

A Big Bold Beautiful Journey stars Margot Robbie, Colin Farrell, Lily Rabe, Jodie Turner-Smith, Phoebe Waller-Bridge, Hamish Linklater, Kevin Kline.

Caught Stealing (March 29)

When his punk-rock neighbour asks him to take care of his cat for a few days, New York City bartender Hank Thompson suddenly finds himself caught in the middle of a motley crew of threatening gangsters who all want a piece of him.

Caught Stealing stars Austin Butler, Zoë Kravitz, Regina King, Matt Smith, Liev Schreiber, Vincent D'Onofrio, Griffin Dunne, Nikita Kukushkin, Yuri Kolokolnikov, Bad Bunny.

STREAMING ON PRIME VIDEO

 

SIREN’S KISS (SERIES) 3/03/2026

YOUNG SHERLOCK (SERIES) 4/03/2026

FROM THE WORLD OF JOHN WICK: BALLERINA (MOVIE) 5/03/2026

SCARPETTA  (SERIES) 11/03/2026

FIGHT OR FLIGHT (MOVIE) 12/03/2026

GOOD LUCK, HAVE FUN, DON'T DIE (MOVIE) 13/03/2026

INVINCIBLE SEASON FOUR (SERIES) 18/03/2026

DEADLOCH SEASON TWO (SERIES) 20/03/2026

ZETA (MOVIE) 20/03/2026

I KNOW WHAT YOU DID LAST SUMMER (2025) (MOVIE) 21/3/2026

BAIT  (SERIES) 25/03/2026

PRETTY LETHAL (MOVIE) 25/03/2026

A BIG BOLD BEAUTIFUL JOURNEY (MOVIE) 29/3/2026

CAUGHT STEALING (MOVIE) 29/3/2026

KARATE KID: LEGENDS (MOVIE) 29/3/2026

LAST SEEN ALIVE (MOVIE) 30/3/2026

HOUSE OF GUCCI (MOVIE) 31/3/2026

TOMB RAIDER (2018) (MOVIE) 31/3/2026

Logitech Signature Slim Solar+ K980 Keyboard: Review

After years of keyboards doing much the same and much as is expected, you'd be forgiven for thinking it's hyperbole to say that one device can change the game in many ways.

However, Logitech Signature Slim Solar+ K980 does exactly that.

A sturdy, yet slim, piece of kit that requires little fiddling with out of the box other than turning on Bluetooth and pairing it with your computer, this incredibly simple piece of equipment has one major game-changer in its back pocket - it doesn't require any charging.

At a slim 680 grams, the keyboard itself isn't particularly heavy, nor is it particularly light. But its ease of portability means that you can simply cart it from one place to the next if you're a student on the go, or simply leave it in an office space for use - and charging.

Sleek and simple, the keys aren't too elevated from the board, but they do make a satisfying clack once you pound away at them. Even with a few months under its belt, there's no sign of them bearing a beating or being about to give up the ghost either.

Perhaps disappointingly, the keyboard itself can't be elevated, meaning ergonomic users will feel a little with their nose out of joint and after some 8 hours a day, there's a chance that, due to a lack of a wrist rest, your wrists will end up bearing the scars of a heavy's day's use.

And a lack of lighting on the keyboard never really gives you an indication how close to needing a charge it is, or how much time you have left on it. There's also a lack of any RGB lighting within the keys to show what you're doing during the day, but given this charges from any form of light, it's fair to say you won't be typing away in the dark anyway. 

In many ways, it resembles the keyboard of a laptop in terms of layout and level which means most will be au fait with what's needed. An app can be used to configure the keyboard to any distinct preferences and perhaps some of a lack of the accessibility-side of things gives a feeling that Logitech's not really considered other users.

However, in terms of what it brings to the office table, the Logitech Signature Slim Solar+ K980is a powerful performer that delivers what's needed, giving months of uninterrupted usage. This alone minimises the need for wires and connections, meaning an office space can look sleek and unfussy, something which does much to aid work.

With its customisation app offering alternatives to keys and shortcuts for business needs, this really has covered all the bases necessary. And while the lack of any form of elevation is disappointing in of itself, the Logitech Signature Slim Solar+ K980 Keyboard is one of those pieces of equipment that you really can't afford to be without. 

If Logitech can deal with some of the minor niggles that comes with it for their next keyboard outing, they'll have easily cornered the market for years to come.

Rental Family: Disney+ Movie Review

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.

Keeper: DVD Review

Cast: Tatiana Maslany, Rossi Sutherland
Director: Osgood Perkins

Trading on a distinct feeling of unease and claustrophobia, director Osgood Perkins' latest slice of unsettling cinema won't be to everyone's taste.

It's the story of  Liz and Malcolm (Maslany and Sutherland), a couple who head to a family cabin in the woods for a weekend away on their one-year anniversary.  Being a self-confessed city rat xxx is already concerned about what could happen, but gives in to the idea of a trip - even if she has been gifted a beige cardigan by her beau. 

However, when Malcolm's brother Darren (Birkett Turton) ingratiates himself into their weekend, Liz is thoroughly rattled, a feeling only exacerbated when Malcolm is called back to the city on a medical emergency.

Left in the cabin, Malcolm begins to feel she's being watched - and stalked.

Keeper works well as an atmospheric take on an uneasy relationship, but slightly unravels when its true nature unveils itself later on and the exposition-heavy reveals come tumbling out. It also slightly fails to say much about the coercive nature of relationships and how people react in them, other than some one liners here and there about Liz being a "side-piece".

To say it'll be divisive is an understatement and it's too spoiler-heavy to discuss here. But the buildup to the crescendo of creepiness is perfectly paced, stressful viewing that makes great use of an architectural marvel in the woods and an angular setting. (Certainly, the amount of time the camera obsessed on corners of the house almost rivals David Lynch's ceiling fan cutaways.)

However, the film's largely held together by Maslany's varying degrees of shocked reaction, a trait that begins to wear thin in the final stretch of the movie, and which isn't quite enough to be as engaging as it perhaps should be.

A sparse narrative pervades the movie, and it does feel like the limited cast isn't quite enough to engage in parts. 

But Perkins builds on the work he's done with Longlegs and The Monkey, proving that he's more a master of abstract atmosphere than anything else.

There's an oddness coursing through Keeper's veins and while that hint of horror won't be enough for everyone, the genuinely upsetting and unsettling moments are more than enough to push audiences into a zone of discomfort throughout and appreciation of a director with a singular vision and execution.

Deacon Blue: Live Review

It's not until halfway through their fourth song Fergus Sings The Blues that Deacon Blue's lead singer the raspy-throated Scot Ricky Ross deems the audience worthy of a greeting.

By then, they've already raced through two songs from their brand-new album The Great Western Road and whipped the crowd into a frenzy with an exultant rockabilly-fused uptempo Queen of The New Year, thanks to the incredibly tight playing of the band, and the whirling dervish on stage that is Lorraine McIntosh.

Leonie Moreland (Red Raven News)

But when Ricky speaks, he's full of reflective joy, musing on how it's their last evening in New Zealand and that they'll do "some things you may know and some things you don't," before promising to take us all on a journey. 

And what a welcome journey it is to go on.

Forty years in any business is a long time.

But in the music industry, the longevity of bands of the 80s stretches now so far into nostalgia viewing that it can be hard to separate the past from the present - especially if there's a new album in tow as well.

So it is with Scottish troubadors, Deacon Blue, whose mix of ballads and power anthems saw them breakthrough in the late 80s and early 90s. This latest tour, which ended at Auckland's Bruce Mason Theatre, was a celebration of both their new album Great Western Road, their eleventh such release, and hits, such as Chocolate Girl and Wages Day which formed the peak of their early career.

Over time, the group's lost none of its power of performance and at times, it's hard to forget that these solid middle of the road numbers (in many casual listeners' eyes) are still incredibly catchy, packed full of choruses, bluesy riffs and just effervescent joy.

And it's a credit to them that the newer songs sit alongside their older numbers as some of their strongest work. Turn Up Your Radio, with its deceptive chorus, feels as much a part of the band as Real Gone Kid does. That's an impressive feat for any band, let alone one that's been going nearly four decades. Yes, experience pays, but quality always shines through.

Leonie Moreland (Red Raven News)

Though a mostly older and mostly ex-pat audience on a windy Sunday night in Auckland wouldn't have you believing age was anything to hold anyone back. Even Ross noted he wouldn't have the energy to match the woman dancing effusively in the front row of what can generously be described as an amiable jostle pit of fans. One couple were even performing ballroom dancing off to the side during Loaded, their eyes locked on each other, rather than the six talents on stage. 

It's perhaps telling that the group who made their name back in 1987 with a song called Dignity brought so much dignity of their own to the Bruce Mason Centre. With an extremely tight set and a perfectly honed craft, the group ploughed through 21 songs and an encore in just under two hours - and even left time for extended riffs in them and plenty of crowd interaction moments while the band played second fiddle.

"Since we were here last, the world has changed so much," Ross wryly noted at one point, before launching an impassioned plea for compassion and promising salvation to the captured masses. There were plenty of moments of euphoria too. 

From Real Gone Kid's Woo-hoo chorus through to a goosebump-inducing galloping version of Your Town (arguably one of their best-ever songs), via Chocolate Girl and red rose patterns swirling on the backdrop behind them during When Will You (Make My Phone Ring), there was plenty to remind of their strengths and prowess.

If Ricky was the calm and collected one on stage, he was complemented by the constant tambourine-twirling of Lorraine, a May Day queen dancer caught up in the spirit of it all. Extremely tight playing from drummer Dougie Vipond, keyboard player Brian McAlpine, guitarist Gregor Philip and bassist Lewis Gordon helped build the band's sound and was flawless throughout.

Leonie Moreland (Red Raven News)

And while the audience participation came to the fore plenty of times, Ross also used the rapport to pay tribute to the band's co-founder James Prime and Scottish health minister Jeane Freeman in separate songs that gave him the chance for his decency to shine through.

Great Western Road may have a more reflective edge and there's an argument saying the band's back catalogue offers more crowd-pleasing storming in a barn dance kind of vibes, but Deacon Blue's power remains after nearly 40 years. Their ability to deliver an incredibly energetic look back has served them well here, but the fact their new music feels as fresh and as exciting as their When the World Knows Your Name and Raintown entrants is a testament to their power and prowess.

Long may their stars shine. Their energy and decency still remain intact - they've lost none of it when success rightly came knocking on their door. Here's to them returning again in a few years' time. They ended with a cover of Warren Zevon's Keep Me In Your Heart. 

Based on that performance, you can bet we will.

(And also a word of endorsement for support act Steffany Beck. The Kiwi blues country singer has a real presence in a short set of just six numbers, half of which were cover songs. 

With an Alannah Myles-tinted Country Strong and a down and dirty Wild One, she proved she's got more than enough mettle and stage presence to match the version of Dasha's Austin and Dolly Parton's Jolene and enough material to stand on her own two feet as she vaults the ladder of success.)

PGA Tour 2K25: Legend Edition: PS5 Review

Developed by 2K
Released by 2K Games
Platform: PS5 

Golf on the console has always been a fascinating experience.

This latest revamped proposition from PGA2K takes last year's game and updates it with extra content and a wealth of upcoming golfing goodness.

At its core, the base game remains one of the most playable golfing simulators out there, thanks to the effort that goes into thinking about how exactly you'll shoot your shot. From contact to adding spin, PGA 2K25 has always been about ensuring the virtual version is as close to the real thing as it could be.

With the TrueSwing and EvoSwing, the game offers a very impressive level of feedback and quality of shot. There's little room for error, but given that it feels rewarding when it all comes together, that's no bad thing - and the skill level jumps needed for you to move within the game and progress are always carefully crafted. 

But at the end of the day, when it comes down to it, what matters with PGA Tour 2K25 is how it feels when it plays. And this feels as close to the real thing as you can get - from player rivalries to career modes, there's much to sink your teeth into if you're planning to undergo a long gaming session. Equally, if you just want to kick back and carry out a round of 9 holes, the game can satiate that too.

At the end of the day, PGA Tour 2K25: Legend Edition represents a great golfing simulator. It's hard to see how 2K will improve on this in the future.

Additional features for the PGA Tour 2K25: Legend Edition: 

PGA TOUR 2K25 Legend Edition Year 2 features the contents of the previously available PGA TOUR 2K25 Legend Edition, along with Member’s Pass Year 2, offering access to Clubhouse Pass Premium Seasons 6-8 and Clubhouse Pass Gear Pack Year 2, plus the all-new Pro Accelerator Pack, which replaces the previously-available Starter Pack and includes items intended to boost a new MyPLAYER’s stats, allowing them to compete at a high level quickly, as well as a limited-edition PING Iron and PUMA Footwear. PGA TOUR 2K25 Pro Edition features the contents of the previously available PGA TOUR 2K25 Deluxe Edition, plus the Pro Accelerator Pack. The Pro Accelerator Pack is also available for individual purchase for players who already own PGA TOUR 2K25.

Coming to PGA TOUR 2K25 on January 21, 2026, with the release of Season 5, is the first of the three 2026 Major Championships: The 2026 PGA Championship at Aronimink Golf Club, free to play for all players. Future Seasons will introduce the 126th U.S. Open at Shinnecock Hills Golf Club, and The 154th Open at Royal Birkdale Golf Club. Aronimink Golf Club was last seen in PGA TOUR 2K21, Shinnecock Hills Golf Club last appeared in The Golf Club, and Royal Birkdale Golf Club makes its franchise debut. All players will receive the 2026 Majors Championships courses for free via automatic updates as they are released throughout 2026.

The Choral: Movie Review

Cast: Ralph Fiennes, Mark Addy, Roger Allam, Alun Armstrong
Director: Nicholas Hytner

To say that the Choral is a genial film that feels anchored in yesteryear may feel like damning it with feint praise.

But in truth, the crowd-pleasing set-up-north tone of a mismatched group of people coming together to learn song The Dream of Gerontius for a performance is the kind of movie the older generation get less of in multiplexes these days.

With the backdrop of World War I taking the eligible men away from their lives working at the mill in the UK Northern town of Yorkshire, it aims to mine the same kind of humour and heart as The Full Monty did way back when.

When the town's choir master chooses to sign up for war, the local society finds themselves bereft of a leader. However, hope comes to them in the form of Ralph Fiennes' refined and sophisticated Dr Guthrie - but with one issue. Having lived in Germany and with a penchant for quoting the foreign artists, he's dismissed as being a German-lover, leading to friction within the choir and the Yorkshire society itself. 

It's pretty obvious where The Choral is going as a film. In its gentle edges and wartime humour, British whimsy and generally affable approach to the whole affair, it never really achieves a depth as perhaps it could. It's rarely helped by a large cast of characters that feel lightly sketched over and achieve only moments of stereotyped expectation.

Then again, it never quite sinks into the cliche you'd expect and thanks to Fiennes' presence and the solid performance of the other players, the film feels like a comforting effort. Some of the more subtle edges, including a homosexual subtext and longing, are nicely played out and generally solidly executed.

It's not that it never hits the right note, because in truth, there's been much worse fare from British cinema - doused in a reality throughout of life, love and tragedy, The Choral occasionally hits some highs, but never leaves you regretting having watched it.

Ride 6: PS5 Review

Developed by Milestone
Released by Milestone
Platform: PS5

There's just something about getting on a bike and speeding off into the distance.

It's always been something that's been hard to capture for the console generation, given a lot of the previous sims have concentrated on the technical elements, such as grip and tyre performance. 

And yet, with Milestone's release of Ride 6, the genre has an entrant that feels as close to the real thing as seems humanly possible.

Photorealism has always been the developer's aim with the game - and in its sixth iteration, the game does feel at times like it could have nowhere really to go, given the depth that has pervaded the previous release. So it's pleasing to note that Ride 6 really tries to widen the appeal to an audience by introducing new elements, while never sacrificing the depth it's become known for.

Chief among these is a revamp of the career mode and something that's somewhat cribbed from the Forza Horizon series, a festival featuring motorbikes. RideFest aims to involve bikers in an all-round event that builds on the love of bikes with the pure joy of just getting on one and racing off.

With 22 groups of rides to be unlocked in career and over 300 bikes on offer, you can't accuse Milestone of skipping on the details. Add in to that, the fact you can edit and craft your own gear, split-screen modes and you've pretty much got a world that's worth diving into.

But at the end of the day, all of that is simply theoretical. The practicality of the game remains in how it plays, and Ride 6 feels like a superlative experience.

From realistic authentic sounds to feeling like the game grips you as it hurtles around corners on bikes, this is a sim that delivers. It may take a little bit of practice for newcomers and learning when to use the accelerator, the brake and rear brake will require a bit of patience, but when it comes together, it really does pull it all off.

Arcade mode makes the game more accessible as well and it's here that Milestone acknowledges wider growth is the only way forward for this franchise. It's a savvy move, and given the game has more than enough scope for everyone to be involved, it's a Ride well worth taking.

Control: Resonant gameplay revealed

Remedy Entertainment shares new details on Control Resonant’s shapeshifting weapons, navigating gravity anomalies, and more.

 

Learn how you’ll navigate a Manhattan unpredictably reshaped by otherworldly forces and battle fearsome forces by using our own supernatural abilities, including a shapeshifting weapon. 

Beast of Reincarnation reveals gameplay

This one-person, one-dog action RPG launches on PS5 August 4. Set in sci-fi inspired far-future Japan against the backdrop of a devastated world, Beast of Reincarnation follows Emma, a blight-corrupted outcast and her four-legged companion Koo, a malefact whose kind is supposedly a danger to the world. 

You’ll need to switch between Emma’s real-time, sword-based combat and directing Koo through a command system similar to a turn-based RPG. 

4: Loop reveals gameplay

Following up from last December’s reveal, Bad Robot Games Chief Creative Officer Mike Booth joined us at State of Play to delve into the core gameplay loop, mechanics and more of the four-player co-op shooter 4: Loop. 

You can check out the full breakdown in the video

007: First Light debuts trailer

State of Play debuted a brand-new story trailer for 007 First Light, offering PlayStation 5 players a deeper look at IO Interactive’s original take on the origin of James Bond. 

The video offers a glimpse of Bond’s exploits in Iceland, which puts him on MI6’s radar as a potential recruit for its newly revived 00 programme. The programme will see Bond cross paths with its training instructor, former 00 agent John Greenway, with two needing to work together to take on 009, a former British operative now turned rogue and on the loose. 

PlayStation State of Play showcase

State of Play will return this Friday at 11am. 

Tune in live this Friday at 11am for 60+ minutes of news, gameplay updates, and announcements from game studios across the globe. February’s State of Play will spotlight eye-catching third-party and indie games headed to PS5, along with the latest from teams at PlayStation Studios.

State of Play broadcasts live February 13 at 11am NZDT on YouTube and Twitch. 

Spider-Noir releases first trailer

Prime Video debuted the official teaser trailer and premiere date for its groundbreaking new series, Spider-Noir, starring Nicolas Cage in his first leading television role, premiering worldwide on May 27, 2026. Produced by Sony Pictures Television exclusively for MGM+ and Prime Video, the hotly anticipated series will debut domestically on MGM+’s linear broadcast channel on May 25, then globally on Prime Video on May 27, in more than 240 countries and territories thereafter. For a special and unique viewing experience, Spider-Noir will be available to stream two ways, in “Authentic Black & White” and “True-Hue Full Color” for audiences to choose their own adventure to watch.

Spider-Noir is a live-action series based on the Marvel comic Spider-Man Noir. Spider-Noir tells the story of Ben Reilly (Nicolas Cage), a seasoned, down on his luck private investigator in 1930s New York, who is forced to grapple with his past life, following a deeply personal tragedy, as the city’s one and only superhero.

Full cast includes Academy Award®-winning actor Nicolas Cage (Adaptation, Pig), Emmy Award®-winning actor Lamorne Morris (Fargo, New Girl)), Li Jun Li (Sinners, Babylon), Karen Rodriguez (The Hunting Wives, Acapulco), Abraham Popoola (Atlas, Slow Horses), with SAG Award®-winning actor Jack Huston (Boardwalk Empire, Day of The Fight), and Emmy Award®-winning and Academy Award®-nominated actor Brendan Gleeson (The Banshees of Inisherin, Harry Potter). Guest star cast includes Lukas Haas, Cameron Britton, Cary Christopher, Michael Kostroff, Scott MacArthur, Joe Massingill, Whitney Rice, Amanda Schull, Andrew Caldwell, Amy Aquino, Andrew Robinson, and Kai Caster.

 

Spider-Noir is produced by Sony Pictures Television exclusively for MGM+ and Prime Video. Emmy Award®-winning director Harry Bradbeer (Fleabag, Killing Eve) directed, and executive produced the first two episodes. Oren Uziel (The Lost City, 22 Jump Street) and Steve Lightfoot (Marvel’s The Punisher, Shantaram) serve as co-showrunners and executive producers. Uziel and Lightfoot developed the series with the Academy Award®-winning team behind Spider-Man: Into the Spider-Verse: Phil Lord, Christopher Miller, and Amy Pascal. Lord and Miller executive produce for their shingle Lord Miller along with Aditya Sood and Dan Shear. Amy Pascal also serves as an executive producer via Pascal Pictures. Cage and Pavlina Hatoupis also serve as executive producers.

Fackham Hall: Movie Review

Cast: Thomasin MacKenzie, Damian Lewis, Hayley Mills, Katherine Waterstone, Tom Felton
Director: Jim O'Hanlon

When it comes to spoofing the likes of Downton Abbey, in many ways, it’s a very easy target.

The clipped speeches, the upstairs-downstairs shenanigans and the posh socialites of Julian Fellowes’ hit series is rife for parody, even if the films teetered on the unexpected edge of self-parody.

Enter Fackham Hall, a film that plumbs the puerile and fires so many sight gags, you get the sense there’s a feeling of desperation from the writers that at least something will amuse and titillate.

Unfortunately, unless you’re of an easily amused mind or partial to a few Dad jokes here and there, this scattershot approach to its subject leaves you wishing for the sophistication of the likes of Airplane, The Naked Gun or the gut-bustingly funny Top Secret.

Set in the 1930s and on the country estate of the Davenports, a stinkingly rich and frightfully oblivious family, it follows the fallout from daughter Rose (McKenzie, showing she’s got a wicked streak for delivery when it counts) as she pursues an illicit courtship with the latest addition to the downstairs staff – who may himself hold a secret.

Let’s be clear, there are attempts at clever humour in Fackham Hall. All of its players fully immerse themselves into the world co-created by the five writers, including comedian Jimmy Carr, who cameos as a “hilarious” vicar who puts the wrong emphasis on words from his liturgies to varying degrees of success.

It’s unfair to dismiss Fackham Hall as a laugh-free zone, but many of the finest moments feel ripped from the pantheon of better entrants. An extended riff on an Inspector Poirot character’s name reminds you that Abbott and Costello did it better nearly 90 years ago with their “Who’s on First?” routine; various lines feel ripped from the Leslie Nielsen school of stupidity – there’s clearly love for the wordplay (and sight gags) of the genre, including a genuinely funny Siri joke, but it all feels a little too much like it’s trying too hard at certain points.

Much like Downton Abbey itself, Fackham Hall all resolves in a highly neat way – and some will enjoy the gentle journey through parody.

But sadly, it feels that with a bit more control at the writing stage and a little more taut execution, rather than the formulaic fodder that unfurls on the screen, Fackham Hall takes its own title and applies it to its own audience and any complaints they may have.

Eternity: Apple TV 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.

Eternity is streaming now on Apple TV

Crime 101: Movie Review

Cast: Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Monica Barbaro, Nick Nolte
Director: Bart Layton

Crime 101’s desire to take seemingly disparate storylines and blend them into one proves to be a frustrating attempt in a film that’s slick and stylish, but somewhat disappointingly really has little under the hood.

Hemsworth is Mike, a driver for hire and solo criminal whose push for perfection helps him initiate a series of jewellery heists without consequence in Los Angeles. Ruffalo is dishevelled and disheartened detective Lou, whose theory that a lone wolf is acting is scoffed at by his colleagues and sees him roundly mocked. And on the outskirts of this is Halle Berry’s Sharon Coombs, an insurer whose role in an insurance company is fading due to the men in charge dismissing her as ageing out.

When one of Mike’s jobs goes awry and he narrowly escapes with his life, the sense of self-doubt puts him on a path to apparent destruction – especially as his handler (a grizzled Nolte) believes he’s no longer needed.

Director Bart Layton knows how to layer the tension on in large swathes of Crime 101 and despite a stellar cast, the intersecting story spends an inordinate amount of time wallowing in set-up before delivering a payoff that’s not entirely worthy of the journey itself.

While a wiry Keoghan adds a spruce of energy to the somewhat muted proceedings, the film never quite reaches full throttle, despite looking entirely polished and impressive. (Even a car chase sequence feels adequate and perfunctory, rather than brimming with edge-of-your-seat stakes.)

It may look slick and may deliver in patches, but Hemsworth’s more muted and oddly twitchy performance, along with an arc that feels like it stumbles when it needs to soar, means Crime 101’s overall feeling is one of frustration and style over substance.

Small character moments, such as the final section of the film offers, add much to what’s gone on – but while it’s solid enough, the fact it’s taken nigh on two hours to get to this stage does little to expel any niggling edges of growing annoyance. Ultimately Crime 101 promises much, but unfortunately delivers not nearly enough to justify its polished occasionally tense movie.