The Running Man: Blu Ray Review

Cast: Glen Powell, Colman Domingo, William H Macy, Lee Pace, Emilia Jones, Michael Cera, Josh Brolin
Director: Edgar Wright

It’s the near-future.

Top Gun: Maverick’s Glen Powell is Ben Richards, a man desperate to provide for his family in Edgar Wright’s taken on the 1982 novel from Stephen King.

With a sick and ailing daughter, Richards is desperate for money.

So, on a whim, he enters a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins.

It’s winner-takes-all – but how long will Ben last?

Blessed with a charismatic lead and a director who's known for flair and style, The Running Man had real potential.

But what emerges over a 2hr 10 minute runtime is a lumpen  disappointment that lacks any real directorial point of difference throughout.

An unashamed blockbuster it may be, but a lackluster edge pervades much of The Running Man and messages of a satirical bent about fake news, deep fake digital editing and social class simply bubble away in the background, never really rising to the fore.

The futurist world itself is well realised, with flying post boxes, rundown slums and an awful pastiche of the Kardashians coming vividly to life, but as Ben hurtles from one location to the next, it all just feels so perfunctory in its execution and is cloyingly flat, when it could have been much more.

Solid performances from the likes of Domingo as a showboating host of TV show The Running Man and a very white-toothed Brolin as Dan Killian the head of the network bolster proceedings; plus a late in the film appearance from Emilia Jones is a welcome breath of humanity, but The Running Man feels like it's running on empty.

Powell gives it has all: from pacing through the streets and running like his Top Gun mentor Tom Cruise to barely contained rage as the man blacklisted from doing the right thing and just trying to save his family, but even he feels like he's giving more than the film's giving back to him.

There are some welcome bursts of the old punkish Wright - a few quick cuts here and there and a subversive content creator who picks apart the game and the network which lampoons YouTube conspiracy videos. But it's not enough to save this from the mire that is mediocrity.

A bitter disappointment from Wright, but a fair audience blockbuster, The Running Man could have used more edge and bite to help accelerate its premise across the line.

Red Dwarf: Complete Series I-XIII: Blu Ray Review

Released by BBC
Published by Madman Home Entertainment

Red Dwarf has always been a bit of an underdog in the sitcom world.

Initially, the six-part first series played without fanfare on UK broadcaster the BBC, mixing a clever combination of both Odd Couple humour with sci-fi edges.

Craig Charles' slovenly Lister, Chris Barrie's uptight Rimmer and Danny John-Jules' Cat were an incredibly tight combination mining comedy where there was initially none and transforming what could have been a one-note show into something more superior, without ever forgetting its roots.

A massive 33-disc collection, this pulls together the show's history across different broadcasters and collects it together as one ultimate compendium of all things Red Dwarf. With outtakes from the show and a few curios, it represents everything which was there before but brings it all into one place - meaning fans of the show won't need anything else ever again.

But for those not familiar with Red Dwarf's patented mix of occasional silliness and scientific smarts, let it be said that Red Dwarf: Complete Series I-XIII is a pricey, but worthwhile investment into one of the BBC;'s greatest long-running exports.

Spider-Man: Brand New Day trailer releases

The first trailer for Spider-Man: Brand New Day has been released, ahead of its cinema debut on July 30.

After the record-breaking global success of Spider-Man: No Way Home, Spider-Man: Brand New Day marks an entirely new chapter for Peter Parker and Spider-Man. 

Four years have passed since the events of No Way Home, and Peter is now an adult living entirely alone, having voluntarily erased himself from the lives and memories of those he loves. 

Crime-fighting in a New York that no longer knows his name, he's devoted himself entirely to protecting his city — a full-time Spider-Man — but as the demands on him intensify, the pressure sparks a surprising physical evolution that threatens his existence, even as a strange new pattern of crimes gives rise to one of the most powerful threats he has ever faced.

Directed by: Destin Daniel Cretton
Based on the MARVEL Comic Book by: Stan Lee and Steve Ditko
Produced by: Kevin Feige, Amy Pascal, Avi Arad, Rachel O'Connor
Cast: Tom Holland, Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Tramell Tillman, Michael Mando and Mark Ruffalo

What's on Disney+ in April

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

Malcolm In The Middle: Life's Still Unfair (April 10)

After shielding himself and his daughter from his family for over a decade, Malcolm is dragged back into their orbit when Hal and Lois demand his presence at their 40th anniversary party. 

Cast: The series reunites Bryan Cranston (Hal), Frankie Muniz (Malcolm), Jane Kaczmarek (Lois), Christopher Kennedy Masterson (Francis), Justin Berfield (Reese), and Emy Coligado (Piama). They’re joined by new cast members Keeley Karsten (Leah, Malcolm’s daughter), Vaughan Murrae (Kelly, Malcolm’s youngest sibling), Kiana Madeira (Tristan, Malcolm’s girlfriend), and Caleb Ellsworth-Clark (as Dewey).

Doctor Who: The Collection: Season 13: Blu Ray review

Published by BBC
Released by Madman Home Entertainment

Arguably one of the Fourth Doctor Tom Baker's most iconic series, Doctor Who: The Collection: Season 13 is a must for any true fans of the show - despite some of the shonky work done by AI on upgrading the collection.

The six stories collected, covering the period of the iconic TARDIS team of Harry, Sarah and the Doctor, remain some of the most beloved work done by the series. From tales of monsters loose in Scotland to the iconic Pyramids of Mars, this collection is one of the finest runs of stories ever created for the sci-fi time traveller show, mixing horror, gothic chills and monsters that lived on for decades - and there's not even a Dalek in sight.

But it's the mix of special features that makes this such an essential collection.

From a doco about Ian Marter who played Harry through to the myriad of bonus footage from shows and fandom around that time, it really does represent some of the best of what the show could offer - as well as some high-quality documentaries from an award-winning team.

Ultimately, Doctor Who: The Collection: Season 13: Blu Ray is a piece of memorabilia that no true fan of the show should be without - and even those curious about the show's appeal would be wise to jump in on this and understand why it's been so beloved for so long.

Ready Or Not 2: Here I Come: Movie Review

Cast: Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, Elijah Wood, Nestor Carbonell
Director: Tyler Gillett, Matt Bettinelli-Olpin

The 2019 original Ready Or Not was a bloody blast.

A fresh idea on the horror genre that also satirised the idea of in-laws and marriage, it offered a wave of originality and gore while delivering a complete story about Samara Weaving's Grace and her descent into hell.

So a second film faced a problem from the start - with everything wrapped up, there was only the lore to expand and the gore quotient to be upped to ensure that this feels like something different from the first.

Unfortunately, despite an extremely strong performance from Weaving as the clearly traumatised Grace, Ready Or Not 2: Here I Come never quite gains the pace of the first film - or the smarts.

Picking up just moments after Grace has burnt down her past encounter and survived the game of hide and seek until dawn, she's reunited with her sister Faith (Newton) whom she abandoned seven years ago. Bitter about each other's treatment, the pair is kidnapped by a group of Satanists who want to seize the power vacuum left by Grace's murderously protective spree and take control of the High Seat, which Grace's in-laws previously controlled.

It's all a McGuffin really for six new families to try and hunt Grace and Faith down, while the two sisters bicker and quarrel their way through their issues.

The problem with Ready Or Not 2: Here I Come is that after the first 30 minutes or so, the movie loses steam and becomes repetitive, hitting the same beats and delivering the same human blood-sack explosions that the first did. But this becomes a case of diminishing returns, given how predictable the story devolves and how tiresome it gets.

One sole sequence that shines involves a wronged bride, a wedding reception and pepper spray. That, coupled with Bonnie Tyler's anthem, marks the film's only moment of originality - a brutal, funny and cleverly executed set-piece in among a sea of indifference.

And there's an incredible amount of uncomfortable brutality against the women in this film. Every punch they receive, every kick they're given - they all land with painful edges and feel a little like the filmmakers are overegging their desire to inflict pain. Netwon alone receives such a beating at one point that it feels like a flashback to Maddie Palmer's death in Twin Peaks in its nastiness.

None of this is to detract from Weaving's performance throughout. Despite the sisters-reunited subplot never really hanging together, she's fierce, frightened, broken and occasionally hopeful as she wearily accepts what's going on and how to survive it.

A lack of real villains in the piece - other than Gellar and Hatosy's twins, most of the menace feels like an amorphous blob waiting to be punctuated by a bloody self-explosion - also cripples proceedings with the well-defined antagonists of the first film feeling like an afterthought.

When it comes down to it, Ready Or Not 2: Here I Come struggles for a true raison d'etre. Viewed simply as a sequel that's become necessary because of the cult success of the first, it struggles to get out of its own circle of hell - and because of that, at times, this feels like an unwelcome visit to cinematic hell.

Resident Evil Requiem: Xbox Series X Review

Developed by Capcom
Published by Capcom
Platform: Xbox Series X

The Resident Evil series takes a leap into the future in this graphically engaging, almost cinematic approach to the long-running franchise.

This time, it follows FBI Agent Grace Ashcroft as she investigates a series of murders linked to her mother's death at a hotel. But the further she begins to look into these matters, the more it places her on a collision course with series protagonist Leon S Kennedy and a wider conspiracy.

To say more about Resident Evil Requiem is to deny the game the shocks it has in store for those willing to submit to its mix of jump scares and atmospheric dread. But this is more than simple carny-level shocks - there's some deeply unsettling psychological stuff at play here in a game that's as technically polished as it is utterly terrifying.

From rain-soaked streets to dark corridors that hide their horrors, there's much to endure and enjoy with Resident Evil Requiem - and needless to say, the ability to switch between protagonists makes for a thrilling experience.

But it's more than just the immersion into the character world that makes Resident Evil Requiem work - there's a tension and suspense littered throughout Grace's section that feels like it's ripped from the best horror films in the world and the action that perpetuates Leon's sections is the perfect antithesis to what has gone before.

All in all, this coalesces into the kind of game that's rarely seen on consoles within its genre - an excellent, unsettling experience that's only all the better for how incredible it all looks.

The Oscars winners 2026: The complete winners list

The Oscars: Complete winners list

Here is the complete list of winners at the 98th Academy Awards, taking place in Los Angeles on March 15, 2026.

Picture

"Bugonia"

"F1"

"Frankenstein"

"Hamnet" 

"Marty Supreme" 

"One Battle After Another" - WINNER

"The Secret Agent"

"Sentimental Value"

"Sinners" 

"Train Dreams" 

Directing

Paul Thomas Anderson, "One Battle After Another" - WINNER

Ryan Coogler, "Sinners" 

Josh Safdie, "Marty Supreme"

Joachim Trier, "Sentimental Value" 

Chloé Zhao, "Hamnet" 

Actor in a Leading Role 

Timothée Chalamet, "Marty Supreme" 

Leonardo DiCaprio, "One Battle After Another"

Ethan Hawke, "Blue Moon"

Michael B. Jordan, "Sinners" - WINNER

Wagner Moura, "The Secret Agent"

Actress in a Leading Role

Jessie Buckley, "Hamnet" - WINNER

Rose Byrne, "If I Had Legs I'd Kick You"

Kate Hudson, "Song Sung Blue"

Renate Reinsve, "Sentimental Value"

Emma Stone, "Bugonia"

Actor in a Supporting Role

Benicio del Toro, "One Battle After Another"

Jacob Elordi, "Frankenstein"

Delroy Lindo, "Sinners"

Sean Penn, "One Battle After Another" - WINNER

Stellan Skarsgård, "Sentimental Value"

Actress in a Supporting Role 

Elle Fanning, "Sentimental Value"

Inga Ibsdotter Lilleaas, "Sentimental Value"

Amy Madigan, "Weapons" - WINNER

Wunmi Mosaku, "Sinners"

Teyana Taylor, "One Battle After Another"

Animated Feature

"Arco"

"Elio"

"KPop Demon Hunters" - WINNER

"Little Amélie or the Character of Rain"

"Zootopia 2" 

International Feature

Brazil, "The Secret Agent"

France, "It Was Just an Accident"

Norway, "Sentimental Value" - WINNER

Spain, "Sirât"

Tunisia, "The Voice of Hind Rajab"

Documentary Feature Film

"The Alabama Solution"

"Come See Me in the Good Light"

"Cutting Through Rocks" 

"Mr Nobody Against Putin" - WINNER

"The Perfect Neighbor"

Documentary Short Film 

"All the Empty Rooms" - WINNER

"Armed Only With a Camera: The Life and Death of Brent Renaud"

"Children No More: 'Were and Are Gone'"

"The Devil Is Busy"

"Perfectly a Strangeness"

Animated Short Film 

"The Butterfly"

"Forever Green"

"The Girl Who Cried Pearls"  - WINNER

"Retirement Plan"

"The Three Sisters"

Live Action Short Film

"Butcher's Stain"

"A Friend of Dorothy" 

"Jane Austen's Period Drama"

"The Singers" - JOINT WINNER 

"Two People Exchanging Saliva" - JOINT WINNER

Adapted Screenplay

"Bugonia," Will Tracy

"Frankenstein," Guillermo del Toro 

"Hamnet," Chloé Zhao and Maggie O'Farrell

"One Battle After Another," Paul Thomas Anderson - WINNER

"Train Dreams," Clint Bentley and Craig Kwedar

Original Screenplay

"Blue Moon," Robert Kaplow

"It Was Just an Accident," Jafar Panahi, Script collaborators – Nader Saïvar, Shadmehr Rastin and Mehdi Mahmoudian

"Marty Supreme," Josh Safdie and Ronald Bronstein

"Sentimental Value," Joachim Trier and Eskil Vogt 

"Sinners," Ryan Coogler - WINNER

Original Song 

"Dear Me" from "Diane Warren: Relentless"

"Golden" from "KPop Demon Hunters" - WINNER

"I Lied to You" from "Sinners" 

"Sweet Dreams of Joy" from "Viva Verdi!"

"Train Dreams" from "Train Dreams"

Original Score 

"Bugonia," Jerskin Fendrix

"Frankenstein," Alexandre Desplat

"Hamnet," Max Richter 

"One Battle After Another," Jonny Greenwood

"Sinners," Ludwig Göransson - WINNER

Film Editing

"F1," Stephen Mirrione

"Marty Supreme," Ronald Bronstein and Josh Safdie

"One Battle After Another," Andy Jurgensen - WINNER

"Sentimental Value," Oliver Bugge Coutté

"Sinners," Michael P. Shawver

Production Design 

"Frankenstein," Tamara Deverell and Shane Vieau - WINNER

"Hamnet," Fiona Crombie and Alice Felton

"Marty Supreme," Jack Fisk and Adam Willis 

"One Battle After Another," Florencia Martin and Anthony Carlino

"Sinners," Hannah Beachler and Monique Champagne 

Casting

"Hamnet," Nina Gold

"Marty Supreme," Jennifer Venditti

"One Battle After Another," Cassandra Kulukundis - WINNER

"The Secret Agent," Gabriel Domingues

"Sinners," Francine Maisler

Cinematography

"Frankenstein," Dan Lausten

"Marty Supreme," Darius Khondji

"One Battle After Another," Michael Bauman

"Sinners," Autumn Durald Arkapaw - WINNER

"Train Dreams," Adolpho Veloso

Costume Design

"Avatar: Fire and Ash," Deborah L. Scott

"Frankenstein," Kate Hawley - WINNER

"Hamnet," Malgosia Turzanska

"Marty Supreme," Miyako Bellizzi 

"Sinners," Ruth E. Carter

Makeup and Hairstyling 

"Frankenstein," Mike Hill, Cliona Furey and Jordan Samuel - WINNER

"Kokuho," Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu 

"Sinners," Ken Diaz, Mike Fontaine and Shunika Terry

"The Smashing Machine," Kazu Hiro, Glen Griffin and Bjoern Rehbein 

"The Ugly Stepsister," Anne Catherine Sauerberg and Thomas Foldberg

Sound

"F1," Gareth John, Al Nelson, Juan Peralta, Gary A. Rizzo and Gwendowlyn Yates Whittle - WINNER

"Frankenstein," Greg Chapman, Christian Cooke, Nelson Ferreira, Nathan Robitaille and Brad Zoern

"One Battle After Another" Jose Antonio Garcia, Christopher Scarabosio and Tony Villaflor

"Sinners," Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker

"Sirât," Amanda Villavieja, Laia Casanovas and Yasmina Praderas

Visual Effects

"Avatar: Fire and Ash," Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett - WINNER

"F1," Ryan Tudhope, Nicolas Chevallier, Robert Harrington and Keith Dawson

"Jurassic World Rebirth" David Vickery, Stephen Aplin, Charmaine Chan and Neil Corbould

"The Lost Bus," Charlie Noble, David Zaretti, Russell Bowen and Brandon K. McLaughlin

"Sinners," Michael Ralla, Espen Nordahl, Guido Wolter and Donnie Dean

Hoppers: Movie Review

Cast: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco
Director: Daniel Chong

For those worried Pixar's animation arm has lost its way, Hoppers is the perfect rejoinder to such complaints.

Funny, random and emotionally scary when it wants and needs to be, this tale of all living together and trusting crosses both generations and species. It's the story of Mabel Tanaka (Curda), a young eco-warrior in training who starts the film jail-breaking animals kept in school classroom cages during term time and ends with her sitting atop a rock with a beaver.

When the mayor of Beaverton Jerry (Jon Hamm) decides to build a flyover across Mabel's beloved glade where she grew up with her grandma, she decides to spring into action. Upon learning that all it takes to make the area decreed a nature reserve is a beaver, Mabel sets about to achieve what she believes is a simple goal.

However, she soon finds herself part of the animal kingdom after her consciousness is transported into a robot beaver...

Wildly inventive, deeply heartfelt and above all, completely engaging and joyous, Hoppers is a madcap adventure that is Pixar at its very best. With characters feeling rounded as well as grounded, and the emotional journey a complex and well-executed one, what emerges from it is a story that's genuinely laugh-out-loud funny as well as affecting when it needs to be.

But it's also not afraid to take some swerves into genre territory too, mixing in Fly-like body horror and sci-fi tropes as it all plays out.

The end result is that Hoppers, with its wild array of characters, manages to juggle action sequences and character moments with real aplomb - and never losing sight of any of the basics along the way. From the stand-out creation of the natural world where everything feels aligned to the empathy of loving all creatures, foibles and all, there's just something cohesive here that's utterly charming and exquisitely clever when it needs to be.

However, what's most impressive about Hoppers is the ease with which it manages all of these elements, and leaves you wanting more of the world it's created. It's inevitable there'll be spinoffs here - and quite frankly, they'd be unbelievably welcome.

Project Hail Mary: Movie Review

Cast: Ryan Gosling, Sandra Huller
Director: Phil Lord, Christopher Miller

Based on Andy "The Martian" Weir's 2021 novel of the same name, Project Hail Mary finds Ryan Gosling as Dr Ryland Grace, Earth's last hope when the sun threatens to wipe out all human life.

Waking on board an interstellar ship, Grace realises he has no idea where he is, what he's doing and why...

In 2015, Andy Weir's The Martian made a hero out of poop-filled potatoes and Matt Damon, and in doing so, turned the science into something approachable and understandable for audiences worldwide. There's a similar effect in Project Hail Mary, a move that talks about Astrophage creatures, discusses light speed and the ending of the planet as we know it.

But while The Martian made this language second nature, a lot of Project Hail Mary spends much of its time repeating the basics of big-ideas science to viewers, ensuring that this time it feels a little didactic in places.

As the story flashes before Grace's life before waking on the ship and how he's co-opted into Project Hail Mary, there's more life to be found in the past, thanks to an intriguing relationship with Hüller's deadpan Eva Stratt than the cutesier friendship that Grace evolves with arachnid-rock creature Rocky in space.

There's a distinct feel-good factor at play here in this technically impressive crowd-pleaser that gives space the level of wonderment and awe that it deserves on screen. Both Lord and Miller have mined the humour that Gosling deployed to cosmic effect in The Nice Guys, but they've also given an impressive lens to the space world too, with moments of visual flourish that feel as compelling as any image in 2001: A Space Odyssey.

Unfortunately too long, Project Hail Mary could have easily lost some 30 minutes and dulled none of its impact and while there is a sappiness and mawkish edge that creeps into toward the end of the film, what plays out in Project Hail Mary is an impressively big-screen experience that talks of connection, collaboration and co-existence.

Held together by the charismatic Gosling glue, Project Hail Mary is a warm glow of a sci-fi film, but one that will burn you if you get too close to the sunny disposition it displays at certain moments. 

28 Years Later: Neon NZ Movie Review

Cast: Aaron Taylor-Johnson, Ralph Fiennes, Alfie Williams, Jodie Comer, Jack O'Connell
Director: Danny Boyle

Three decades after the original 28 Days Later leant into the vibe of a disease being released from a lab and infecting the whole world, director Danny Boyle has returned to the scenario that gave the world the then-unknown Peaky Blinders star Cillian Murphy.

This time around, the story follows a group of survivors quarantined on a heavily guarded island. But when one of them heads away from the island, what they discover rocks the core of their foundations of belief...

To say much about 28 Years Later is to steal away from what threadbare plot there is - which sounds like a disservice but is anything but. The story revolves around the loss of innocence of a child, of discovering a role model is not what you thought they were and of the lies we tell ourselves and others to survive.

Taylor-Johnson is Jamie, who, as the film begins - after a brutal massacre of children watching of all things Teletubbies - is taking his younger than hunting age son Spike (a terrific Williams) out for his first kill on the mainland they live over the water from. However, things don't go entirely to plan...

The best thing to say about 28 Years Later is that it's a film that does everything new with the post-apocalyptic zombie genre that's been run ragged by countless copies and revitalised by The Last Of Us. Not once does Boyle follow the pack, and spends most of the film breaking out from doing so. Even a coda at the end delivers one heck of a punch that will land with those au fait with British pop culture. ("Let's be pals" will be the most terrifying of words uttered this year for those who know about tracksuits and children).

From having the zombie kills play out like elements of the X-Ray cam on Rebellion Games' Sniper Elite to an entirely elegaic ending that is not what you'd expect, but is entirely what you deserve, 28 Years Later delivers nerve-shredding moments mixed with a disturbing calm, and a rich world that brims with contemporary allegories and parallels. (An isolated Britain filled with rage-hating populace covers so many bases right now).

But central to it all is Williams' brave portrayal of the coming-of-age Spike, forced to kill out of goading from his father and uncertain of his right to do so before inevitably having to take the lead and become his own man.

The film looks spectacular too - lush green run-riot plants curl over decrepit buildings; the infected have evolved into different types of creatures and the passing visuals are nothing but upsetting in a hope-less way.

28 Years Later is visceral cinema at its finest - and it's an unmissable in-cinema experience.

Pretty Lethal: Movie Review

Cast: Uma Thurman, Lana Condor, Maddie Ziegler, Millicent Simmonds, Iris Apatow
Director: Vicky Jewson

Sometimes, all a film needs is a killer hook and a simple premise.

The idea of a group of ballerinas forced to fight for their lives in a hotel surrounded by gangsters is one such killer hook, but Pretty Lethal's relative inability to build on this - despite an 82 minute execution -leaves it somewhat floundering.

With action choreographed by unit 87 North, who are known for their work on JohnWick and The Continental TV series, you'd expect something slick and breathtaking - almost balletic given its subject matter.

But while Pretty Lethal does manage to deliver some impressive beatdown moments, its propensity for lack of originality means there's a creeping indifference as it plays out.

When a group of bickering ballerinas' car breaks down en route to a competition in Hungary, they're forced to seek solace in a local tavern run by Uma Thurman's prowling owner. However, after their handler is shockingly executed by mistake in front of them, the group finds themselves in a desperate battle for survival with only their wits and prowess to rely on.

Mixing Hostel, Abigail and also John Wick: The Continental, Pretty Lethal isn't shy in embracing its predecessors, nor does it believe in holding back the action. Yet in between bursts of brutality, there's scant little in this that really ramps up any tension - and even Uma Thurman's character embraces the camp as a former dancer whose leg was destroyed by a gangster, who's she held a grudge against for years.

The end result is that Pretty Lethal is anything but en pointe as it hurtles towards its denouement. As the dancers pirhouette around supposedly seasoned gangsters, they're underestimated fodder as the group's rife for a working together message that can be seen coming a mile off.

Consequently, Pretty Lethal is pretty disappointing in its unoriginality and pretty frustrating, given it looked like it had a shot at doing something different.

What's on DocPlay in April

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

This April, enjoy a diverse slate of programming from across the globe. Festival favourites André is an Idiot and Lowland Kids premiere exclusively on DocPlay; while Marlee Matlin: Not Alone Anymore offers a rousing portrait of the trailblazing Academy Award®-winning Deaf actress. A must-see for cat lovers, The Cats of Gokogu Shrine offers a Wiseman-esque study of a Japanese village’s dozens of feline residents. Plus, discover over 60 design and architecture-themed short-form episodes from local production company Never Too Small, streaming for the first time on the platform.

 9 April

André is an Idiot (Exclusive)

Fun-loving André delayed getting a colonoscopy only to discover that he’s dying. In this Sundance Audience Award-winner, join André on his hilarious and heartfelt journey to the end. 

9 April

Marlee Matlin: Not Alone Anymore (Exclusive)

Marlee Matlin becomes the first Deaf actor to win an Academy Award® for her performance in Children of a Lesser God. Catapulted into the spotlight, she challenges an industry that's unprepared for her immense talent, emerging as a trailblazing actress, author and activist. 

16 April

The Cats of Gokogu Shrine

In the picturesque small coastal town of Ushimado in Japan’s Okayama Prefecture, a Shinto shrine has become home to an ever-growing colony of stray cats. A film festival favourite from Japanese documentarian Kazuhiro Soda.

20 April

Never Too Small

Discover over 60 episodes of this popular premium short-form series, streaming for the first time on DocPlay. Produced by Melbourne-based production company Never Too Small, the architecture-focussed programming features award-winning global designers and their compact apartments, studios and self-contained projects, as well as stories that bring to life a vision of small, sustainable living.

23 April

Seeking Mavis Beacon

The most recognisable woman in technology lives in our collective imagination. Mavis Beacon Teaches Typing taught millions globally, but the software’s Haitian-born cover model vanished decades ago. Two DIY detectives search for the model while posing questions about identity and artificial intelligence. 

30 April

Lowland Kids (Exclusive)

Set on Louisiana’s rapidly vanishing Isle de Jean Charles, this quietly powerful documentary captures the lives of two teenagers and their uncle as they navigate the slow erosion of their home. 

Reanimal: PS5 Review

Developed by Tarsier Studios
Published by THQ Nordiq
Platform: PS5

It opens with small faces peering down a well, the darkness surrounding your view as you look up to the skies.

But where Tarsier Studio's Reanimal goes after that is infinitely darker and much more disturbing.

This latest from the Little Nightmares studio bears all the hallmarks of the darker edges of their prior games, while giving plenty of new fuel for the horrors ahead. As you play on as a little boy figure wearing a mask, you meet up with your lost female friend and the game allows this brother and sister duo to either work via a co-op player or AI while you press on through the world.

It's claustrophobic stuff and while it's fair to say that Reanimal doesn't exactly shake up the formula the studio's made, the subtle changes make this a genuinely disturbing and upsetting game to behold by moving the camera with you, meaning what's out of sight can be a genuine fright when it comes.

Mixing stealth and exploration, the game's keen to keep you guessing, but its absolute commitment to the horrors that unfold on screen are genuinely upsetting.

From blood rain to a man ironing human suits, there's plenty in here that will fuel fears given the game's penchant for spoon-feeding moments that drop clues in their relationship and subtly give away ideas of what's happened. 

It's a game that provides a singular experience, rather than one that has to be played as it were - it's about immersion within and dealing with the world inside makes for another piece of ammunition in the Tarsier Studio collection.

It's worth playing because when it fires up the deepest fears in your imagination, there's just something about Reanimal that gets under your skin and stays there, long after you've turned off the PlayStation and retreated into your own dark.

Reminders of Him: Movie Review

Cast: Maika Monroe, Tyriq Withers, Lainey Wilson, Bradley Whitford, Lauren Graham
Director: Vanessa Caswill

The latest adaptation of author Colleen Hoover's dramas has one secret weapon in its arsenal - that of Longlegs actor Maika Monroe.

She plays Kenna Rowen, who, as screeds of voiceover exposition explains, is heading back to her hometown of Laramie after serving 7 years in jail for the vehicular manslaughter of her boyfriend Scott one fateful night.

Unable to find a job, she longs to get enough financial support so that she can visit her daughter, whom she gave birth to in prison and who's now ensconced with her grandparents (Whitford and Graham), who are violently opposed to her ever having access.

But after forming an initially uneasy with Scott's best friend Ledger (Withers), a former Denver Broncos player who ends up back in Laramie and as a guardian to Kenna's daughter...

Reminders of Him is exactly what you'd expect from a Hoover drama.

But playing in choppy parts and drifting from one flashback to another, via voiceover and the plot device of Kenna reading letters to her dead boyfriend, the film starts to feel its 2 hour length, and with moments that seem to exist purely to end a chapter in a book, rather than service a story on screen.

In amongst it all though is Monroe, who delivers a committed and engaging performance in this perfunctory tale of redemption, motherhood and second chances. There's a spiky vulnerability to Kenna that Monroe embodies and doesn't overplay - consequently, she's engaging throughout, elevating the formulaic and predictable moments the drama has to hit.

Withers, whie seemingly riffing on the quarterback career of Cade in Him (a role he played), is fine, solid enough as a pawn caught in the middle of what's going on, but lacks some of the pull, guilt and emotional turmoil that Ledger needs, given his part in what happened and is happening.

Ultimately, Reminder of Him is perfunctory in many ways, though its episodic structure begins to grate, and the final third of the melodrama doesn't feel like it has enough suspense or tension - an outcome is never in doubt, but thanks to an affable enough lead duo, it's a journey that's bearable enough, but in no way memorable.

No Tears On The Field: Movie Review

Director Lisa Burd turns her lens on the national sport in this amiable albeit slightly undercooked documentary that showcases the heartland and delivers a masterclass in not only grassroots sport, but also homeland philosophy.

Ostensibly looking at a group of female rugby players from Southern and Clifton Rugby Clubs over a season as it unfolds in Taranaki, this genial piece takes a dive into the worlds of women players and their motivations for getting on the field in the first place.

But unlike most sports documentaries, which purposefully become underdog stories, this one follows a clutch of young hopefuls who charge onto the field for a variety of reasons and from a variety of backgrounds.

From one mother of three who was charmed into the game at the prospect of a free creche at the ground to the player who nearly lost her arms in a farm accident when she was younger, each has their own motivation for joining.

And while it’s fair to say that No Tears On The Field doesn’t exactly reveal any new insights into what it takes to play the game, the lack of parity for female rugby players in a male-dominated game, what it does do is shine the spotlight on the very heart and ethos of the sport in a field that’s become dominated by corporate players and big-time deals.

But what’s equally more moving about No Tears On The Field is the exploration of familial relationships. Whether it’s a father motivating and supporting a daughter in her rugby career or remembering a lost mother and being inspired by her, the film explores – and makes a solid case – for the sanctity of the heartland bond. (Time spent with players Kate Thomson, Maddison Davison, Mereana Anderson and Phoenix Fraser is well-utilised, and despite them being part of the backbone, each of them feels fully developed and human throughout.)

It’s here that Burd’s film is more effective, moving away from the usual cliches of life on the field and the competitive nature of sport in general. It’s here that the movie shines the light on the seldom hidden but often overlooked reality of rural life – that it’s the connections and community that invest in people and their dreams – and who celebrate their successes when they come.

But if you're looking for a deep insightful piece, this is not it, as it feels like a Country Calendar episode writ large, no matter how well-intentioned it is.

Pillion: Movie Review

Cast: Alexander Skarsgard, Harry Melling, Lesley Sharp

Director: Harry Lighton

There's an aching sadness which pervades Pillion's central BDSM romance.

In this drama, adapted from Box Hill: A Story of Low Self-Esteem by Adam Mars-Jones, Ray (True Blood's Skarsgard) strikes up a relationship with a quiet ordinary man named Colin (the brilliant Melling).

Colin is a traffic warden, doling out tickets to miscreants who overstay their parking and receiving nothing but abuse back for doing so. Then during his night gig as a singer in a barbershop quartet, he sees a skulking Ray, hiding in the corner. Bumping into each other at the bar, Ray gives Colin a card with a demand to meet him on Christmas Day.

As Colin acquiesces to the mystery ahead, he soon finds himself immersed in the 1970s UK gay biker scene, and part of a submissive in the Dom-Sub relationship. Initially reticent to be part of it, Colin soon gives himself over to the demands of the relationship, much to the horror of his mother Peggy, who believes Ray is a creep because he won't come round for Sunday lunch.

To say more about Pillion is to deprive it of its rhythms. 

There are no seismic revelations here - aside from one sequence at the end, which is utterly tragic - and both Skarsgard and Melling make for committed partners in this piece, which provides different challenges for each. The naivety that Melling plays Colin with makes him an endearing and relatable character, no matter what kind of relationship he's actually in.

And while Skarsgard has the harder part as the silent and dominant one, he makes his Ray an understandable character whose needs are squarely based on what his views of this relationship should be.

A lack of judgement and a touch of restraint from Lighton makes this a compelling watch, one that captures the heartbreak and joy of a relationship - and which shows devotion in its many forms can be utterly devouring - and totally destructive.

How To Make a Killing: Movie Review

Cast: Glen Powell, Jessica Henwick, Margaret Qualley, Ed Harris, Bill Camp, Zach Woods, Topher Grace

Director: John Patton Ford

More half-hearted than horrifically entertaining, not even Glen Powell's star charisma can save the 2026 remake of Kind Hearts and Coronets.

In this, Powell plays shut-out-of-the-family-inheritance Becket Redfellow, who begins the film seemingly on death row, hours from execution and in the mood to make a confession to a priest who's been summoned.

So begins Becket's story - detailing everything from his mother being banished from the Redfellow estate after falling pregnant to a guesting musician to Becket's own rise up through the company, thanks to the kindness of his uncle (Bill Camp).

Deciding on a whim to bump off one of his cousins after the idea's planted in his head by his childhood crush Julia (Qualley, not quite strong enough here to be a femme fatale), Becket begins a plot to take out various members of the family and ascend to take the fortune that he believes he's rightfully due.

How To Make a Killing should be a slam-dunk.

An impressive cast, a killer hook and an "eat the rich" satire promises much - but what director John Patton Ford manages to deliver is something that rises and collapses worse than any cinematic souffle could.

Perhaps the signs are there early on, with the heavy voiceover and exposition killing off the mood at the beginning. There's nowhere to go but up after a limp opening, but How To Make a Killing never really finds its legs.

The deaths which should be gory and glorious are merely full-stops at the end of each portion of the film, with scenes of the coffins being carried off into the family mauseoleum feeling like the cinematic equivalent of a child ending its summer report with the words, "And it was good."

The weaker drama doesn't carry through the film and there's no suspense or tension where there should be. Equally, while there's supposed to be a moment that Becket realises he's content and found happiness when he least expected it in a way he hadn't planned for, the catharsis is weak and unearned, trotted flatly out for the audience, but barely invested in.

There are some performances that shine.

Silicon Valley's Zach Woods amuses as the artist of the family, and the relationship between Powell's Becket and his unexpected love Ruth (Jessica Henwick) feels like it's the only thing with heart in the movie. Though Camp's performance adds depth and nuance where none is written.

Sadly, How To Make a Killing delivers barely any murderous intent during its 105 minutes and audiences are more likely to leave the film, declaring it's guilty of killing off the atmosphere and potential, rather than handing over something that's murderously memorable.

Zootopia 2: Disney+ Movie Review

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

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

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

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

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

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

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

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

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

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

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

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

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

Zootopia 2 is available to stream on Disney+ from March 11.

Planet of Lana II: Children of the Leaf: PS5 Review

Developed by Wishfully
Published by Thunderful Publishing
Platform: PS5

More evolutionary than revolutionary, Planet of Lana II builds on the good will of the first game

Set two years after the events of the first, it's back to the world of Lana and her cat-lika pal Mui as they explore a planet called Novo.

But in the intervening time since the pair defeated the robots threatening their civilisation, the duo's had time to bond - and Lana's had time to build on her skillset.

This time, in this 2.5D side-scrolling adventure, Lana's built up her skillset and is able to be more agile in the game, leading them deeper into danger and giving them a chance to

be more effective in seemingly life-threatening situations. More capable and more agile, she's able to move faster, slide under obstacles and also dive underwater in the world of Novo.

Which is a good thing, as there's plenty of new puzzles to try and crack in a world filled with forests, snowy mountains and deep sea trenches. (At times, it's like being part of Dave the Diver's world underground in the water sections.)

And talking of the world, it's fair to say this game looks beautiful, a set of stunning vistas making the backgrounds of this side-scroller soar.

That doesn't mean that the game's lost any of its bite - and certainly when it comes to tackling some of the trickier puzzles, get it wrong, and you'll soon know about it. 

A key element this time is more precision and timing - one wrong move and it's all over, leading to the most horrific cries of loss from Mui.

The thing with Planet of Lana II: Children of the Leaf - aside from its longer story (around 8 hours this time) - is that it's more engaging and more immersive.

There's not one moment you don't feel deeply engaged in the core game, the story and the bond that's forged between the pair - as well as with Lana's sister who's responsible for the story going forward.

With smart enough spawnpoints and plenty of autosaves, there's enough here to ensure that you don't get too frustrated when things go wrong - because they will - and can dive back in where you need to.

Planet of Lana II: Children of the Leaf is a great second chapter - it may not fully invent Lana's wheel, but a strong ability to keep you engaged means any third chapter with Lana and Mui would be incredibly welcome.

Win a double pass to see Project Hail Mary in cinemas

To celebrate the release of Ryan Gosling's new film Project Hail Mary, in cinemas March 19, thanks to Sony Pictures NZ, you can win a double pass.

About Project Hail Mary

Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. 

As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. 

He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction... but an unexpected friendship means he may not have to do it alone.

Project Hail Mary is in cinemas March 19.

To enter, please send a message titled HAIL MARY to darrensworldofentertainment@gmail.com 

Competition ends March 19

God of War: Sons of Sparta: PS5 Review

Developed by MegaCat Studios and Santa Monica Studio
Published by Sony Interactive
Platform: PS5

For those looking for a return to Kratos' world may slightly be surprised by this 2D Metroidvania game that takes away Kratos' axe and gives him back a spear and a chance to fight some old enemies.

Essentially a maze game that's about looking for a new way to tell Kratos' story and setting back in Greek ideologies and mythologies proves to be a tonic on some fronts, but does expose a few storytelling flaws as it goes on.

You get to play as a young Kratos, a teenager who's barely found his bearded anger yet and who is about to learn a lesson of responsibility as the game goes on. Teaming up with his brother Deimos on an adventure outside of Sparta, there are various missions for Kratos to carry out, some of which are enticing and others which are slightly dull.

What's perhaps most disappointing about God of War: Sons of Sparta is the fact it feels like a mobile phone game, one that uses none of the tech's cinematic prowess or the engine's capability. Combat is simple, stab, slash, hack, jump and avoid. Perhaps it's more suited to a PS Portal than a large scale console and TV set up.

Granted, the further into the game you go, the more ability you get, but largely, this feels like a muted entrant into Kratos' world, one that diminishes the power of his legend. 

How you'll feel about dedicating some 20 hours to the game depends largely on how invested you are in the Greek Odyssey of Kratos himself, but don't be surprised if this leaves you feeling underwhelmed - despite the best intentions of MegaCat studios.

Cold Storage: Movie Review

Cast: Georgina Campbell, Joe Keery, Liam Neeson, Lesley Manville, Vanessa Redgrave
Director: Jonny Campbell

Cold Storage's distinctive B-movie vibes are apparent from its opening titles.

As meteors smash through on-screen graphics, this tale of a fungal microbe from space escaping from years of captivity in an abandoned Government facility that's become a storage unit is clearly not taking itself seriously from the start - even if its cast are.

Liam Neeson stars as Robert Quinn, a former specialist who first became aware of the alien lifeform after he was called to Australia by a Dr Martins (yes, it's a real name) who'd been contacted about an outbreak in a Western Australian township. 

Years later, Travis (Stranger Things' Joe Keery), a nighttime worker finds his shift interrupted by a beeping noise and a brand new colleague Naomi (Barbarian's Georgina Campbell). When the duo investigates, they soon discover the bacterial incursion and race against the clock to try and save the day.

Cold Storage does exactly what you'd expect from a story that's about a marauding fungus - and if you can get past the inconsistencies of the plot and the fact it feels padded with a small cast and an at times shonky script, there are plenty of gore-filled vicarious thrills and needle drops to be enjoyed here.

Neeson delivers a no-holds barred class in doing it all seriously throughout, despite the increasing levels of absurdity and it's great to see the likes of Lesley Manville taking part in something like this, given her career's been mainly prestige pictures and period dramas.

There's a real warmth to Neeson and Manville's partnership, a lived-in quality that makes you wish the story spent more time with them, rather than Travis and Naomi's attempts at banter and bonding.

Both are fine, and even an exposition-heavy script and a penchant for labelling Travis as "loqacious" before firing off yet another dialogue from him can't stop you feeling a frisson of engagement in this budding work-colleagues relationship -0 even if it doesn't leave mushroom for development.

Jurassic Park writer David Koepp's 2019 story is fun enough, and this is disposable enough fare that just about entertains, given how it doesn't take itself seriously. Do yourself a favour and see it with some friends - it's the kind of thing that will appeal to anyone who's a fungi.

The Boys releases final season trailer

The fifth and final season of The Boys, from Sony Pictures Television and Amazon MGM Studios, will premiere exclusively on Prime Video on April 8, 2026.

 Prime Video revealed the epic official trailer for the highly anticipated upcoming fifth season of The Boys, as the global hit series heads toward its explosive final chapter. Season Five of the multi-Emmy Award-winning series will premiere on April 8, 2026, with two episodes, followed by a new episode each week, culminating in the unforgettable series finale on May 20, 2026. The season will stream exclusively on Prime Video in more than 240 countries and territories worldwide. The trailer brings together the series’ iconic characters as they prepare for one last stand, building toward the ultimate confrontation.

 

In the fifth and final season, it’s Homelander’s world, completely subject to his erratic, egomaniacal whims. Hughie, Mother’s Milk, and Frenchie are imprisoned in a “Freedom Camp.”  Annie struggles to mount a resistance against the overwhelming Supe force. Kimiko is nowhere to be found. But when Butcher reappears, ready and willing to use a virus that will wipe all Supes off the map, he sets in motion a chain of events that will forever change the world and everyone in it.  It’s the climax, people. Big stuff’s gonna happen.

 

The Boys is based on The New York Times best-selling comic by Garth Ennis and Darick Robertson, who also serve as executive producers, and developed by executive producer and showrunner Eric Kripke. Seth Rogen, Evan Goldberg, James Weaver, Neal H. Moritz, Pavun Shetty, Phil Sgriccia, Michaela Starr, Paul Grellong, David Reed, Judalina Neira, Jessica Chou, Gabriel Garcia, Ori Marmur, Ken F. Levin and Jason Netter also serve as executive producers. The Boys is produced by Sony Pictures Television, Amazon MGM Studios with Kripke Enterprises, Original Film, and Point Grey Pictures.

I Swear: Movie Review

Cast: Robert Aramayo, Shirley Henderson, Maxine Peake, Peter Mullan, Scott Ellis Watson

Director: Kirk Jones

There's plenty in I Swear which feels formulaic.

Beginning with a present-day event (meeting the Queen, before swearing at her) and then zipping back to his earlier years, this feel-good film about Tourette Syndrome sufferer John Davidson takes on a more poignant and tragic edge, given his recent appearance at the 2026 BAFTA Awards.

Yet, this at-times heartbreaking underdog biopic is extremely uplifting, thanks to a compassionate direction and an extraordinary performance from both its leads - Watson as the young Davidson and Lord of the Rings: The Rings of Power's award-winning Aramayo as the older version.

In 1980s Galashiels in Scotland, John is a happy boy. On the cusp of starting secondary school, he's the apple of his dad's eye, thanks to his goal-keeping prowess. But a few days into a new life, it all begins to unravel when involuntary tics emerge and his life devolves into mockery and ostracism at the hands of others - including a family break-up and a cold, clinical mother (Henderson) who's incapable of any empathy.

Things change for Davidson when he meets Dottie (Maxine Peake), a mother dying of cancer, who gives him the sympathetic support he's been denied by society.

What happens next is very easily telegraphed in the world of movie-making - a series of obstacles to be overcome, before inevitable success. (Though any success will feel bittersweet after Davidson's use of the N-word at the BAFTAs).

And while you'd expect a film about this subject to use the Tourette's as a punchline of absurdity thanks to its appearance at the most inopportune moments, every outburst is utterly demoralising and hard to behold.

If Watson is deeply moving as the younger version, Aramayo absolutely knocks it out of the park as the older Davidson. From hints of sadness and frustration behind his eyes to a physical performance which is difficult to watch, he is astounding, while never losing any of the likeable everyman who has a wicked sense of humour.

But rather than mocking Davidson, the film - and by default Aramayo - give him wide berth to show the reality of living a life like this, the isolation and the utter frustration at an inability to just have a normal day. This so easily could have been a film that made a mockery of its subject matter - instead, it becomes a touchpoint for discussion, a window into humanity and a relatably human story about dealing with what life's delivered you.

A truly moving and joyful experience that could have easily lost some of the film's back third, I Swear is the kind of life-affirming thing British cinema does so well so often. It throws open a window into a world we barely know, floods it with pathos and delivers something that's truly unforgettable.