Klara and the Sun: Movie Review

Cast: Jenna Ortega, Amy Adams, Steve Buscemi, Natasha Lyonne, Mia Thiara
Director: Taika Waititi

It's easy to see what would draw a director like Taika Waititi to make and adapt a film like Klara and The Sun.

Given its childlike innocence, naivete and vein of tragedy within, it has a lot in keeping with the elements of Boy and Hunt For The Wilderprople where odd quirky edges hide deep heartache and issues with the human condition.

But the problem here is the adaptation of Kazuo Ishiguro's book, is that the film never once gives any real depth to its heftier themes, despite a third act that shows so much promise when the darkness creeps in and hints at what the film really could have been, if it had been swathed in more melancholy.

Jenna Ortega is artificial friend Klara, a robot companion that's looking for an owner. Swamped by newer models, she and her kin are forced to stand in shop windows by their owner (Natasha Lyonne) to try and attract a mate. But ignored due to newer models, Klara faces a bleak future until she's discovered by Josie (Thiara, largely brilliant until the third act sidelines her) and taken home.

Once back at Josie's country house, where only her icy mother (Adams, thin-lipped and distant) and housekeeper (Rachel House, once again deploying her familiar schtick as a brusque individual with a heart) live, Klara discovers all is not as it seems as she tries to bond with Josie and find her true happiness.

At the start, Klara and the Sun has a goofy appeal as Ortega's sweetly charming wide-eyed robot tries to fit in. Like a child with nothing imprinted on her yet, Klara has an innocence that the film mines for comedic effect, but soon the whimsy grows tiring as the house of cards is built on little else.

While the rejoinder to the cynicism is perhaps welcome early on, it soon becomes clear that Klara and The Sun has little idea of what it wants to do other than tell a seemingly happy story with a sad heart to it, something Waititi has largely made his oeuvre out of. 

But by dabbling in bits of sci-fi, elements of family drama and melodramatic edges, the film rarely delves deeply into any of them, proving to be a shallow and frustrating experience than frustrates rather than thrills.

Pitching juvenile and not quite adult enough for its themes, Klara and the Sun's highlights remain with its core cast members. 

Ortega has enough to carry the film and imbues Klara with a joy that's initially hard to deny and as Josie, Thiara shows depth beyond her young years, mining the tragedy of her character and the frailty of her situation. However, the third act sidelines her and her missing presence is deeply felt.

Perhaps the biggest frustration with Klara and the Sun is how little of Waititi there appears to be on show here, crafting a film that feels inert and lifeless when it's the perfect kind of story for his back catalogue. 

But on this showing, perhaps the sun needs to set a little on his ambitions and he can go back to basics.

What's on DocPlay in November

Here's everything that's streaming on DocPlay in November 2026.

This November, remarkable documentary films from across the globe stream exclusively on DocPlay. An enticing high-stakes fued spills across the screen in The Oligarch and the Art Dealer, while Broken English offers a surprising genre-bending portrait of the musician Marianne Faithfull. Two films from American documentarian Ross McElwee come to the platform - Sherman’s March (1985), and his devastating new festival favourite, Remake. Offering a similarly-themed meditation on life and death, The Oldest Person in the World is the new film from Sam Green, who develops a fascination with the world’s oldest living people.

Plus, Claude Lanzmann’s opus Shoah, a landmark of documentary cinema, streams on DocPlay from mid-November.

2 November

The Oligarch and the Art Dealer (Exclusive) | Series

When a Russian oligarch accuses his trusted Swiss art dealer of a billion-dollar betrayal, their explosive feud pulls back the curtain on the secretive world of the ultra-wealthy – where masterpieces are currency, fortunes are hidden in plain sight, and power is everything.

5 November

Broken English (Exclusive)

A posterchild of counterculture and lead artist of the British Invasion of music in the United States, Marianne Faithfull was a singular pop talent. Exploring her six-decade journey through music, fame, and reinvention, Faithfull’s final artistic work comes in the form of a genre-bending documentary, weaving reality and imagination to present a full reflection on a one-of-a-kind life.

9 November

Bye Bye Tiberias

In Bye Bye Tiberias, filmmaker Lina Soualem travels back in time and place to capture the stories passed on by four generations of daring Palestinian women in her family.

9 November

The Oldest Person in the World (Exclusive)

Filmmaker Sam Green follows successive record holders for the world's oldest living person, creating a moving meditation on longevity, fate, time, mortality, and the meaning of life.

12 November

Shoah

Over a decade in the making, Claude Lanzmann’s nine-hour-plus opus is a monumental investigation of the unthinkable: the murder of more than six million Jews by the Nazis. DocPlay is proud to present this landmark documentary.

30 November

Remake (Exclusive)

In his most devastatingly personal work to date, veteran auto-documentarian Ross McElwee probes his home movies for insights into his son’s death. Remake premieres on DocPlay alongside Sherman’s March (1985), also directed by Ross McElwee.

Masterplan: Movie Review

Cast: Stanley Tucci, Simona Tabasco, Victor Belmondo
Director: Thomas Vincent

A very European take on the heist movie, Masterplan's flashiness serves it well as a light, frothy evening's entertainment, but once the film's finished, it's hardly likely you'll think on on it.

Which is a shame because director Thomas Vincent crafts together a pacy film about thieves Jay and Chiara, one an Italian cybercriminal (The White Lotus' Tabasco) and the other, an explosives expert (Belmondo) who are thrown together in an attempt to steal the Mona Lisa.

Spearheaded by Stanley Tucci's suave (and exceptionally well-dressed) former criminal Roger, the twist comes when he reveals to the pair that they are his estranged children, adding a more complex element to the stakes.

Or so you'd think.

Unfortunately, Masterplan is more interested in flashy cuts and zippy graphics, soundtracks and montages than the need to deploy much tension in this high-faluting adventure.

Despite Tucci delivering a more than capable performance that showcases his usual wit and charisma, the film's never quite sure of what it wants to achieve, other than zipping around locations, providing a chance to showcase a multi-international co-prod and just leaving the two thieves squabbling with each other (after initially awkwardly flirting).

As a result, Masterplan does what it says - and even with a final act twist, it never quite rises above its intentions, delivering a highly capable Friday night streaming choice. That's perfectly fine to do and given there are no real clangers of performances here for a script that hardly challenges its cast, it's perhaps enough.

But the biggest crime here is that Masterplan will steal away just under 2 hours of your time in a kind of streaming heist that'll leave you scratching your head where the time went and why you can't remember much about it after its credits have rolled.

Masterplan is streaming now on Prime Video.

What's on Disney+ in November

Here's everything that's streaming on Disney+ in November 2026

Rivals (November 11)

Based on Dame Jilly Cooper’s best-selling and beloved Rutshire Chronicles, the critically acclaimed series returns with a three-episode premiere on Wednesday 11 November on Disney+ internationally, and Hulu in the U.S.

As the return to the scandal and excess of 1987 edges closer, the residents of Rutshire reunite for more revelry, rivalry and romance, but as the stakes ramp-up they must face tragedy, heartbreak, backstabbing, and betrayal head on.

Episodes 7-12 pick up after the heartbreaking mid-series finale. Tony Baddingham and Declan O'Hara's battle for the Cotswolds crown reaches fever pitch, while Rupert Campbell-Black is forced to confront his own personal demons. Against a backdrop of hedonistic parties, Bonfire Night chaos, the Hampshire Hunt Ball and a turbulent Christmas, affairs unravel, alliances fracture and rivalries intensify. Caught in the middle of the frenzied franchise war, Taggie O'Hara must find the courage to follow her heart, while those around her face the consequences of ambition, power and secrets that can no longer remain hidden. But as series two draws to a close, who will get their happy ending?

Ahead of its highly anticipated return and following rave reviews, Disney+ also recently announced it had been greenlit for a third season, with twelve new episodes confirmed.

Reprising their iconic roles are David Tennant (‘Doctor Who’, ‘The Thursday Murder Club’) as Lord Tony Baddingham, Alex Hassell (‘The Tragedy of Macbeth’, ‘The Boys’) as Rupert Campbell-Black, Aidan Turner (‘Poldark’, ‘The Suspect’) as Declan O’Hara, Nafessa Williams (‘Black Lightning’, ‘Whitney Houston: I Wanna Dance with Somebody’) as Cameron Cook, Bella Maclean (‘Sex Education’, ‘London Tide’) as Taggie O’Hara, Katherine Parkinson (‘Humans’, ‘Here We Go’) as Lizzie Vereker, Danny Dyer (‘EastEnders, ‘The Football Factory’) as Freddie Jones, Victoria Smurfit (‘Bloodlands’, ‘Once Upon A Time’) as Maud O’Hara, Claire Rushbrook (‘Sherwood’, ‘Ali and Ava’) as Lady Monica Baddingham, Oliver Chris (‘The Crown’, ‘Trying’) as James Vereker, Lisa McGrillis (‘Maternal’, ‘Mum’) as Valerie Jones, Emily Atack (‘The Emily Atack Show’, ‘The Inbetweeners’) as Sarah Stratton, Rufus Jones (‘W1A’, ‘Home’) as Paul Stratton, Luca Pasqualino (‘The Musketeers’, ‘Shantaram’) as Basil ‘Bas’ Baddingham, Catriona Chandler as Caitlin O'Hara (‘Wild Cherry’, ‘Pistol’), Annabel Scholey (‘The Split’) as Beattie Johnson, Gary Lamont (‘Boiling Point’, ‘Outlander’) as Charles Fairburn, Hubert Burton (‘Wolf Hall’, ‘Living’) as Gerald Middleton, Gabriel Tierney (‘The Winter King’, ‘Enola Holmes 2’) as Patrick O’Hara, Lara Peake (‘How To Have Sex’, ‘Reunion’) as Daysee Butler and Bryony Hannah (‘Call The Midwife’, ‘Unforgotten’) as Deirdre Kilpatrick.

Supernatural, Aliens and High School Musical Reunions Bring the Buzz to Armageddon Expo 

Reunions of top film and television franchises are adding excitement for the Spring Armageddon Expo, happening at Auckland Showgrounds this Labour Weekend. 

With eight Supernatural stars, five Aliens performers and High School Musical’s Lucas Grabeel and Bart Johnson, this is a unique opportunity for fans to go deeper into their favourite shows and films with the people who made them.

And there is plenty to talk about with these franchises. Aliens turns 40 this year, High School Musical celebrates 20 years, and Supernatural’s 15 seasons give its cast and fans a considerable history to draw on. Alongside the reunions, a major gaming programme brings console free play, esports and some of gaming’s best-known actors to the Showgrounds.

Armageddon founder Bill Geradts says the reunions are a particular focus of this year’s event.

“When you bring several stars from a show together, they share the excitement of the journey, remember different things of what happened on set and give fans a much deeper insight into the show they love,” he says.

“And that’s important for the fans. Armageddon fans know the characters, the episodes, the jokes, and have questions they’re burning to ask. Getting quality time with a large cast is a big deal.”

Supernatural’s contingent is led by Jared Padalecki, who played Sam Winchester throughout the series’ 15-season run. Joining him are Samantha Smith, who played his mother Mary Winchester, Matt Cohen (young John Winchester), Felicia Day (Charlie Bradbury), Kim Rhodes (Jody Mills), Briana Buckmaster (Donna Hanscum), Alaina Huffman (Abaddon) and Osric Chau (Kevin Tran).

The line-up reaches across the Winchester family, fellow hunters, friends and enemies, giving fans plenty of scope to explore the series and the relationships that sustained it. Individual and paired panels, photographs and autograph sessions run across the weekend, with a full cast panel exclusively for Moose Pass holders.

For Aliens fans, the 40th anniversary reunion brings together Jenette Goldstein, who played Vasquez, Mark Rolston(Drake), Cynthia Scott (Dietrich), Daniel Kash (Spunkmeyer) and Carl Toop, who performed as one of the Aliens.

James Cameron’s 1986 film put its cast through a memorable encounter with one of cinema’s most feared creatures. Four decades on, the actors behind four Colonial Marines and one of their adversaries will share a stage in Auckland, revisiting the production with an audience that knows just how badly that mission went.

Their joint panel takes place on Saturday, with group photograph sessions also available over the weekend.

High School Musical fans have their own anniversary to celebrate. Twenty years after the first film, Lucas Grabeel and Bart Johnson will reunite with an audience that grew up watching Ryan Evans and Coach Bolton at East High.

Saturday morning’s sing-along gives that audience a chance to join in with the two stars. The pair will also appear together in a Monday panel, with duo photographs and autograph sessions available during the event.

The reunion line-up has some familiar voices for gamers too. Felicia Day played Veronica in Fallout: New Vegas and Tallis in Dragon Age II: Mark of the Assassin, while Mark Rolston plays Norman Osborn in the Marvel’s Spider-Man games and Deathstroke in Batman: Arkham Origins and Arkham Knight.

They join a gaming guest line-up that includes Christopher Judge, who plays Kratos in God of War, Erika Ishii from Ghost of Yōtei, David Bateson, the voice of Hitman’s Agent 47, and Baldur’s Gate III’s Andrew Wincott.

With gaming and esports on the show floor and performers on stage, fans can spend the weekend playing, watching competition and meeting the actors behind characters they know so well.

Geradts says that opportunity to get fully involved is central to Armageddon’s appeal.

“People come with friends, bring their families, dress as their favourite characters and make a weekend of it. You might have watched a film dozens of times at home, but hearing the cast talk about it in a room full of fans adds something you will remember every time you watch it.”

Across the Showgrounds, cosplay, comics, artists and merchandise give visitors plenty to explore between games and guest appearances. Fans can find artwork and collectables from their favourite franchises, meet the people who create them, and compare costumes with others who appreciate the work that went into them.

“That’s what we want people to come for: a whole weekend enjoying their fandom and being part of the whole immersive experience,” Geradts says.

Armageddon Expo opens at Auckland Showgrounds on Friday 23 October, with a preview evening from 6pm to 9pm. The main show runs from 10am to 5pm on Saturday 24, Sunday 25 and Monday 26 October.

Tickets are available through iTicket. Full guest details, appearance days and schedules are at www.armageddonexpo.com. Photos and autographs carry additional charges. Guest appearances and schedules are subject to change.

FULL GUEST LIST

Current as at 13 October 2026.

Supernatural reunion

●      Jared Padalecki: Sam Winchester in Supernatural; Dean Forester in Gilmore Girls; Cordell Walker in Walker.

●      Samantha Smith: Mary Winchester in Supernatural.

●      Felicia Day: Charlie Bradbury in Supernatural; Codex in The Guild; Veronica in Fallout: New Vegas; Tallis in Dragon Age II: Mark of the Assassin.

●      Kim Rhodes: Jody Mills in Supernatural; Carey Martin in The Suite Life of Zack & Cody.

●      Briana Buckmaster: Donna Hanscum in Supernatural.

●      Matt Cohen: Young John Winchester in Supernatural; Griffin Munro in General Hospital.

●      Alaina Huffman: Abaddon in Supernatural; Tamara Johansen in Stargate Universe; Black Canary in Smallville.

●      Osric Chau: Kevin Tran in Supernatural; Ryan Choi in the Arrowverse.

Aliens reunion

●      Jenette Goldstein: Vasquez in Aliens; Janelle Voight in Terminator 2: Judgment Day.

●      Mark Rolston: Drake in Aliens; Bogs Diamond in The Shawshank Redemption; Norman Osborn in the Marvel’s Spider-Man games; Deathstroke in Batman: Arkham Origins and Arkham Knight.

●      Cynthia Scott: Dietrich in Aliens.

●      Daniel Kash: Spunkmeyer in Aliens.

●      Carl Toop: Alien warrior in Aliens.

High School Musical reunion

●      Lucas Grabeel: Ryan Evans in the High School Musical films; Toby Kennish in Switched at Birth.

●      Bart Johnson: Coach Jack Bolton in the High School Musical films.

Additional film and television guests

●      Brandon Routh: Superman/Clark Kent in Superman Returns; Ray Palmer/The Atom in Arrow and DC’s Legends of Tomorrow.

●      Anson Mount: Captain Christopher Pike in Star Trek: Strange New Worlds; Cullen Bohannon in Hell on Wheels; Black Bolt in Inhumans.

●      Christopher Judge: Teal’c in Stargate SG-1; Kratos in God of War and God of War Ragnarök.

●      Charlie Bushnell: Luke Castellan in Percy Jackson and the Olympians; Bobby Cañero-Reed in Diary of a Future President.

●      Kirsten Vangsness: Penelope Garcia in Criminal Minds.

●      Christopher Lambert: Connor MacLeod in Highlander; Raiden in Mortal Kombat.

●      Sala Baker: Sauron in The Lord of the Rings: The Fellowship of the Ring.

●      Tom Lenk: Andrew Wells in Buffy the Vampire Slayer; Ronald the intern in The Cabin in the Woods.

Gaming, animation and voice guests

●      Erika Ishii: Atsu in Ghost of Yōtei; a voice of Rook in Dragon Age: The Veilguard; Valkyrie in Apex Legends.

●      Christine Marie Cabanos: Madoka Kaname in Puella Magi Madoka Magica; Mako Mankanshoku in Kill la Kill; Chiaki Nanami in Danganronpa 2.

●      Faye Mata: Lulu in League of Legends; Aqua in KonoSuba; Petra Macneary in Fire Emblem: Three Houses.

●      Kayleigh McKee: Voice roles in Jujutsu Kaisen, Guilty Gear, Fionna and Cake and One Piece.

●      Kenny James: Bowser in Nintendo’s Super Mario games.

●      Carolina Ravassa: Sombra in Overwatch; Raze in Valorant.

●      Lucie Pohl: Mercy in Overwatch.

●      Andrew Wincott: Raphael in Baldur’s Gate III.

●      Jason Spisak: Silco in Arcane; Kid Flash in Young Justice; the Joker in Batman: Hush.

●      David Bateson: Agent 47 in the Hitman games.

●      Martin Copping: Mozzie in Rainbow Six Siege; Lucas Riggs in Call of Duty: Vanguard.

Creator and comic art guests

●      Hilly Hindi: Co-creator and performer in The Hillywood Show, known for its Supernatural and other screen parodies.

●      Arthur Suydam: Comic artist known for Marvel Zombies, Deadpool and Black Panther artwork.

Guest appearance days vary. Christopher Judge appears Saturday and Sunday only. Check the official schedules before booking.

Samsung Galaxy Z Fold8 Ultra: Review 

With Apple finally deciding to get in on the Foldables market, it seems like that's proof positive that the work Samsung's been doing in that arena for years has rattled them.

And given that market includes the likes of the Samsung Galaxy Z Fold8 Ultra, it's easy to see why.

With its polished foldable design and quick processing power, the latest foldable from Samsung continues to pack the punch you'd expect - as well as doubling down on the minor niggles of previous releases (raised back side camera being the most egregious of these).

But with a sleek design that's no larger than a passport, Samsung's not really reinvented the wheel, choosing instead to tinker under the hood to ensure that the phone does what it needs to and innovates when and where it can.

While the foldable itself doesn't become a full square when opened up, the rectangle nature of the screen and the fact the crease isn't obvious makes for a good strong first impression. And while the camera lens sits off to the centre of the crease, there's no noticeable indentation that makes viewing more of a chore as some of the screen's eaten up by the tech.

In terms of the display, while the Fold8 Ultra is very capable, with the 7.6 inch screen offering a nice mini tablet experience, as well as a side-by-side companion piece for split screen messaging and scrolling the internet. The ability to split the screen off into doing other things is a major benefit of these foldables and it has to be said, working on dual mini-screens doesn't even compromise the display quality of what you can see.

(This review version of the phone didn't come with a S-pen, so any possible integration on that front isn't possible to discuss here.)

When folded, the phone's 5.5 inch AMOLED display front screen is more than adequate for making calls, taking and sending messages and does so with ease. 

With a smooth UI and apps opening quickly and easily, the phone's simple raison d'etre is also a successful one - there's no lag and no need to feel like you have to wait to get going with what you want to do. And the fact multiple apps can be opened on different screens means the phone has a chance to be everything to different people.

Video playback is high quality and with no noticeable crease in the phone's tablet view when it's unfolded, the viewing experience is a pleasant one that proves to provide quality, no matter how long you're looking at it.

Once again, the raised cameras on the back of the phone prove to be a bone of contention. The raised cameras on the back mean the phone doesn't sit flat and once again, flipping it over onto its front causes more heartache if the screen's become scratched accidentally. It's a minor thing, and even though the camera delivers quality imagery at extraordinarily high rates, it continues to be something that just seems to rankle - especially given how sleek the designs on these Samsung phones can be.

And the pricepoint for the phone is exceptionally high too. Granted, this is top of the range fare and not out of step with the market and its competitors, but it feels a shame that a quality phone like this may leave it out of reach of the masses - certainly, as cost-of-living crises continue and the RAM shortage continues to bite into the market, there's no sign of that ending any time soon sadly.

If you're not a fan of foldables, it has to be said that the Samsung Galaxy Z Fold 8 Ultra may just entice you in. It's a superior addition to the 2026 range of phones on offer and given there are at least 7 years of support promised for it, it's perhaps best seen as an investment, rather than a luxury. - and while the camera's solid and battery is an improvement on the Fold 7, maybe now is the time to absorb that cost and join the Foldable revolution.

After all, Apple's finally given into what Samsung's been providing so brilliantly for years.

Olivia Dean: Live Review

As Olivia Dean wrapped up her massive global jaunt to promote The Art of Loving with her biggest ever stadium show in Auckland at a venue which was getting its debut, there were two ways it could go.

But on a cold and chilly night in Auckland under the stars, it perhaps wasn't the one that the 27-year-old London megastar wouldn't have wanted after technical issues three songs in saw her pause the show for what she promised would be two minutes, and ended up being somewhere near to 40.

Massive demand for her single Auckland date had seen the show which was originally scheduled to play downtown at Spark Arena relocate to Auckland's Western Springs Bowl, a redeveloped speedway track that is the city's new hope for outdoor live events.

In truth, it seems like the venue itself has a fair few kinks to work out before things are close to perfection. From over-zealous security guards taking chewing gum and lollies from punters and ordering people in the newly refurbished embankment section of the grounds to stand up or else to bottle necks of people trying to leave at the end, there are some niggles which may not make for great reading for the owners.

Let alone the 40-minute technical issue that saw sensation Dean coast by on the fact her brand of soulful simple pop is adored by her fanbase.

It all started so well, with the giant pink-shrouded stage, which appeared to be dressed like a half-open clam, housing both her infectious energy and her mightily impressive band.

Kicking off the show with mega-hit Nice To Each Other, and dressed in old-school Hollywood glamour in a red-dress that a flamenco dancer wouldn't turn their nose up at, the crowd was ready to lap it all up - and even non-fans could see why her success has come. There's an earnest energy and honesty that she extols on stage which is hard to deny - no matter how far from the front you wear. Before So Easy (To Fall In Love) started up, she greeted the crowd, and made note of the fact she'd played Auckland previously to just 900 people and was now doing it for 45,000.

There's a simplicity to Dean's music that's seen her become the queen of radio airplay and tracks from The Art of Loving may not be the most complicated in terms of both lyrics and arrangements, but Dean's pure stage charisma and bounding energy certainly caught the crowd in her sights, leaving everyone in a gleeful mood early on.

But that's when the jolt came as a technical issue meant the band needed to reset - and as the moments dragged on and ominously the promoter came on stage to promise it would be back, things didn't look good.

It has to be said that at this point, Dean could have potentially showed her star prowess as an entertainer. She could have come back out and either spoken to them, wowed them with some acoustic moments (as she did a little later after the 40-minute interlude with the likes of UFO and Touching Toes) or just worked the crowd who were already eating out of her hand. It may seem trite to note, given Handsome Tours who promoted the show had revealed little of what happened, but for a final show, this major hiccup could have been the making of something stellar and unique for her.

Alas, it was not to be - and while after a delay the audience made sure to welcome her back and Dean promised she'd play right up till curfew and none of the 23-strong song set would be cut, much to the joy of those around her.

Three outfit changes, not one hint of a loss of energy and some very innocent and almost-naive stage lessons later about what love can do (which the audience lapped up), Dean showed no signs of losing what makes her a consummate performer in the eyes of many. Along with an extremely strong brass section and backing vocalists, the set, when it resumed, was tight, deft and sonically impressive.

Baby Steps saw the stage turned into a giant glitterball, her 2024 song Time showed a side of funk and soul that was undeniable, a cover of Curtis Mayfield's Moving on Up got the crowd almost euphoric and closing with Man I Need, complete with audience singalong at the end proved the hiccup was forgotten (even if some higher ups won't forgive it).

Perhaps the technical issue and some of the foibles of the Auckland venue may overshadow Olivia Dean's biggest show yet - but for those who experienced it and adored her, this was a magical night where innocence and decency reigned true - and even cynics couldn't help but admire the sentiment.

Naza: Movie Review

Director: Yuval Abraham and Rachel Szor

It's hard to know where exactly to start with Naza, a documentary so urgent in its themes but yet so morally depressing.

This Guardian-produced documentary follows a series of interviews with 24 Israeli military and intelligence officers about their part in the war on Gaza, how they were recruited, their use of AI, surveillance, and targeted strikes in Gaza that have claimed thousands of innocent civilian lives.

Shot on rooftops around Tel Aviv and with ordinary people nearby in tower blocks going on with their lives, the shrouded figures espouse their detached views on being part of the intelligence sector, their missions and the joy they deride from them and the way whole families or tower blocks were selected to simply take out one possible operative.

It's beyond chilling to hear human lives being discussed as if they were in video games, targets to be picked off as part of a military campaign that shows no end in sight and which becomes a political football between leaders, the populace stuck in the middle.

Naza refers to collateral damage in the war, essentially human lives, and to hear the officers say their strikes involved 100 or 200 Naza at a time with a sense of emotionless detachment and devoid of any kind of sentiment is likely to leave you disturbed. Whether it's the story of asa boy injured in an attack and who's seen by the officers before they order another strike to take him out, the candid nature with which these officers speak is both eye-opening and deeply troubling.

With sombre edges and little fanfare, both Szor and Abraham stack their case against the officers, even offering them chances to regret their actions, but Naza shows the IDF for what they are and it's horrifying to behold. There's no sensationalism here, and with historical clips showing parts of the past, the frankness with which the doco tells its story becomes its own weapon.

Whether Naza goes on to become one of the most compelling pieces of evidence in the war between Israel and Palestine remains yet to be seen, but as a piece of film that exposes humanity for the inhumanity it harbours, it's a sickening piece of film that should compel many to change - but depressingly, likely will not.

Samsung Galaxy Tab S12+: Review

You could easily be mistaken for thinking all tablets are the same.

They offer similar services from viewing videos to capturing images to doing bits and bobs of work on - they're never quite going to replace the conventional laptop, but their portability sees them scoring a few more points.

Well, Samsung's latest tablet, the Galaxy Tab S12+ takes a real stab at taking on the laptop and surprisingly comes very close to toppling it, thanks to some design choices and its size and compact nature.

The first most noticeable thing about the Samsung Galaxy Tab S12+ is just how incredibly thin and compact it is. Side-on, if you're not careful, you could lose this, because its slim nature and polished feel makes it one of the most compact tablets on the market.

At just 5.3mm thick, the Tab S12+ can slot in anywhere - into bags when you're on the go, on a bookshelf if you're so inclined or nestling happy on a coffee table to be picked up and used as when you want. Given tablets through the years have been chunky and hefty, this design choice from Samsung immediately elevates the Tab S12+ into the realms of something you need to own if you're a minimalist.

But the thin nature of it doesn't mean the power's been compromised (about which, more later.)

Nestled on the side of the Tablet are the volume and power buttons, which are sleek and minimal for the user. They're responsive and despite being thinner, can't easily be accidentally turned on and off. In fact, they're further into the side of the tablet than the camera, which like all Samsung cameras, sticks out the back of the device stopping you leaving it permanently flat. Though it has to be said, unlike the cameras, given there's only one lens here, the impact is more minimal than usual.

Also on the side are a micro-SD card slot and the charging port, along with two grilles which are the speakers. Design has been kept to a minimum here and it's paid off as the device is smooth and sturdy without feeling like it has to have edges that are simply there for the sake of it.

While the single megapixel camera on the back works fine, its imagery isn't the sharpest to be frank but it's more than adequate for the casual user - and who goes out taking snaps with a tablet anyway really? It's in the video and landscape mode the camera comes into its own, with the front lens nestling simply and subtly in the outside borders. The sharpness of the video camera is perhaps better than the image-taking side of things and it means that calls to family or video conferences will be the prime directive here and these are excellently served by the device.

It has to be said that while the glare on the beautiful 12.6 inch AMOLED screen is as much an issue as it always is, the display is really where the Samsung Galaxy Tab S12+ shines. 

Watching films, TV shows or even music videos are an absolute delight here with the 1600 nits peak brightness serving up crisp and concise visuals that excel in HD video format. It's a pleasure to watch on this tablet, especially given the generous sound the speakers pass out. Place it on its side and it's a perfect viewing option that excels in the basics and delivers more - especially when you consider how thin the device is; there's not one single feeling that any of the processing power has been compromised here.

Talking of power, the battery life is more than generous too, with charging giving you a generous amount of time to do what you need to and more with this.

Overall this really is a tablet that more delivers what's needed. With a screen you can spend hours staring at and never feeling like your eyes are being overpowered, the Samsung Galaxy Tab S12+ makes a play for being essential - and more than succeeds.

Grand Theft Auto VI launch trailer

The brand-new launch trailer for the upcoming Grand Theft Auto VI, which releases on November 19, is out now.

The trailer, which shows off more of Jason and Lucia's story, has new music from electronic duo Justice, composers behind the original score of Grand Theft Auto VI.

 “Flower in a Hurricane" from Justice feat. Tame Impala, SZA, and King Gizzard & The Lizard Wizard is also included on Grand Theft Auto VI: The Album, the official soundtrack which is currently available to pre-save on all major music streaming services and up for pre-order on vinyl or CD at gtavi-thealbum.com.

 

For additional updates about the music of Grand Theft Auto VI, visit: https://www.rockstargames.com/VI/music.

Street Fighter: Movie Review

Cast: Noah Centino, Andrew Koji, Joe Anoa'i, David Dastmalchian, Calliana Liang, Orville Peck, 50 Cent, Jason Momoa, Eric Andre
Director: Kitao Sakurai

In a fight, there are always two opposing sides, trying to duke it out and overcome the other.

In many ways, that's exactly how the story (thin as it is) and the tone of the new 2026 Street Fighter movie are represented - constantly at odds with each other, and never quite landing the killer blow.

Set in 1993, giving the film a chance to embrace the slightly camp, slightly camera-leery approach of the era, Street Fighter follows Koji's Ryu and Centino's himbo Ken, a pair of fighters who trained under the same master, became brothers, but then grew estranged.

Lured back to fight one last time in a grand tournament organised by Bison (Dastmalchian, hamming it up at every moment) to discover who the ultimate fighter is, Ken and Ryu find themselves both needing to put aside their differences and to rediscover what it was that made them a formidable combo.

Throw in a side-plot about an Interpol agent (Liang) who's after revenge on Bison for killing her father and the possibility of a series of fight scenes, Street Fighter should be strong enough to deliver a KO.

Unfortunately, even with some incredibly well animated scenes that are scattered throughout and which stretch to cover the entire IMAX screen, Street Fighter somehow misses the mark, delivering a juvenile film that seems to have edited out its tournament fight sequences and after two hours, is no closer to delivering a final blow, preferring instead to tease a future sequel that may not happen.

It's not without its pleasures though.

Whether it's the extremely impressive fight sequences that are splashed throughout (when they're not edited or AWOL) or the occasional bursts of humour that embrace the dumb nature of what's occurring, Street Fighter proves worthy of its mantle and its ambition. And Momoa delivers his most fun role in a long time, finally embracing the macho levels of his persona and the inherent silliness of his premise.

But even the fan service to the game can't escape the need to down 3 or 4 beers before watching this. The tone severely grates after an hour, and the thinness and confusion of what's happening starts to take its toll.

It's amazing that even with a stuffed cast, the Street Fighter movie manages to be both over-stuffed and yet underdone. It's not even a technical victory and while it never lands a killer blow, the possibility there's more to come is enough to make even the most hardened action movie fan want to tap out.

What's on HBO Max in November

Here's everything that's streaming on HBO Max in November 2026.

The Gilded Age Season 4 (November 2)

The eight-episode fourth season debuts Monday, 2 November, only on HBO Max. 

Season four of The Gilded Age follows the fallout from Bertha Russell’s transformation of New York society, as her newfound power comes at a steep cost to her family. As Agnes van Rhijn seizes an opportunity to reclaim her place in the social order, Marian forges a new path of her own, while Peggy strives to earn the acceptance of her future in-laws. In this new era, ambition comes with consequences—and you must be careful what you wish for.

Season four cast includes Carrie Coon, Christine Baranski, Cynthia Nixon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Harry Richardson, Blake Ritson, Ben Ahlers, Ashlie Atkinson, Dylan Baker, Kelley Curran, Jordan Donica, Jessica Frances Dukes, Amy Forsyth, Jack Gilpin, Simon Jones, Celia Keenan-Bolger, Ben Lamb, Audra McDonald, Brian Stokes Mitchell, Debra Monk, Hattie Morahan, Donna Murphy, Kristine Nielsen, Kelli O’Hara, Taylor Richardson, Douglas Sills, Erin Wilhelmi, John Douglas Thompson, Taylor Trensch, James Scully, Dennis Haysbert, Maggie Kuntz, Neal Huff, Bonnie Milligan, Jim Gaffigan, Dallas Roberts, Andrew Burnap, Elizabeth Marvel, Adrienne Warren, with Bill Camp and Phylicia Rashad. 

Creator/writer/executive producer, Julian Fellowes; director and executive producer, Salli Richardson-Whitfield; writer and executive producer, Sonja Warfield; executive producers Gareth Neame, David Crockett, Bob Greenblatt, Kate Churchill, Davita Scarlett, Elaine Aronson; co-executive producers Erica Armstrong Dunbar and Holly Rymon. The Gilded Age is a co-production between HBO and Universal Television, a division of Universal Studio Group. 

HBO Max to launch Turner Classic Movies hub in New Zealand on 6 November

A dedicated destination for iconic films, spanning timeless classics, acclaimed dramas, musicals and genre-defining favourites. 

HBO Max New Zealand will launch the Turner Classic Movies hub on Friday, 6 November, giving subscribers access to an extensive collection of iconic films from one of cinema’s most celebrated catalogues. 

Spanning decades of film history, the collection brings together beloved classics, acclaimed dramas, genre-defining favourites, family films, musicals, epic adventures and historical stories from legendary filmmakers and performers. Highlights include: 

Timeless classics: Casablanca, Singin’ in the Rain, Ben-Hur, Rebel Without a Cause, The Philadelphia Story and Gone With the Wind. 

Acclaimed dramas: Dog Day Afternoon, Cool Hand Luke, Cat on a Hot Tin Roof and A Streetcar Named Desire. 

Genre-defining titles: North by Northwest, Enter the Dragon, Dirty Harry, The Wild Bunch and Soylent Green. 

Show-stopping musicals: Easter Parade, Calamity Jane, High Society and The Music Man. 

Epic adventures: Around the World in 80 Days, How the West Was Won and Mutiny on the Bounty

The Turner Classic Movies hub will offer New Zealand subscribers a rich and expansive library of cinematic history, all in one dedicated destination on HBO Max.

Whalefall: Movie Review

Cast: Austin Abrams, Josh Brolin, Elisabeth Shue, Jane Levy, John Ortiz
Director: Brian Duffield

Based on Daniel Kraus' best-selling book, Whalefall wants desperately to be a whale tale about the claustrophobic nature of grief and guilt.

However, this story of Jay (Resident Evil's Abrams) who becomes trapped inside the belly of a whale while diving to find his cancer-ridden father's remains falters in parts as it foregoes some of the tenser parts for a series of flashbacks that heavily signpost what's due to happen in a truly unsubtle way.

So while some of that may be an issue in terms of the original source material, the film appears to adhere to plumbing the depths of an emotionally bereft rollercoaster of a series of allegories and trite life lessons being imparted in a sentimental overload as the film's final sequences play out.

(It can't be a coincidence that the character is called Jay and is trapped in a whale - the fact it doesn't even deviate from the Jonah and the Whale allegory is perhaps one of the film's failings.)

There's little to the film except for a one-line synopsis - and while Duffield tries to load the emotional bases up with flashbacks between estranged father and son, some of those actually stymy proceedings and leave you feeling manipulated.

While the belly of the beast is meant to be claustrophobic, unfortunately the trapping in the whale is perhaps the most exciting part of the film, one that captures the scale of Jay against this gargantuan creature as he becomes caught up in a fight between squid and whale for food.

Once inside the beast, with only an hour's oxygen left, the film follows a somewhat formulaic route of having Jay being crushed, rolled about and tossed around both by the creature and also his memories of his father.

For what it's worth, Abrams does brilliantly with the one-man physical role, commanding the screen for the entire time he's on it. While most of his scenes see Jay forced to scream or wail through his oxygen mask, Abrams proves to be incredibly tactile as he clambers around the clearly-meant-be-claustrophobic insides of the beast. He even mines some humour out of an encounter with a phosphorous jellyfish that is fashioned into a light.

But at no real point does the film escape its own metaphor - that Jay is being crushed from the outside by the guilt within. And at no moment in the film does Duffield do anything to move that film away from such laudable but obvious intentions. It coalesces into a final sequence that's more laughable than cathartic, a sign that the only blubber on this cinematic whale will come from audiences willing to let themselves be so obviously manipulated.

Whalefall has its moments when it works - from the dark, murky waters to Abrams' scintillating physicality fashioned from so little. And its soundtrack which captures the underwater menace is as immersive as it can and should be.

But with an overload of trite messaging bogging it down in the end, Whalefall sadly sinks to the bottom of the cinematic ocean, when it should rise triumphantly from the waters.

Crystal Lake: Review

The Friday the 13th horror series is iconic with its mix of sexually promiscuous teens, bloody slaughter and the legend of a killer in the woods all wrapped up into one.

So it's perhaps surprising that a TV series feels the need to explore the backstory of the Voorhees family especially, given that most prequels trying to give credence to killers' behaviour generally derails what follows.

And in truth, episode one of Crystal Lake is not really the strongest of openings for what goes on to be a compelling series about grief and the power of awakening against the backdrop of trauma.

While it takes a little while to get going, Crystal Lake belongs squarely to Linda Cardellini who delivers a stellar performance as Pamela Voorhees, the mother whose child Jason drowns in the lake as those in charge are engaged in their own canoodling.

There's a slow and steady pace to episode one, which verges on somnambulant in parts as it builds to the inevitable death of Jason; and while Cardellini makes her Voorhees a grieving mother with subtlety, it soon becomes clear this Pamela is no victim.

Jumping nine months on after the death and with no body in sight, Pam's soon finding herself at the lake, constantly hoping to see Jason - much to the horror of the camp's inhabitants and the villagers themselves. However, with locals claiming to have seen a bear in the woods and body parts showing up, the focus soon shifts to what's haunting the region.

Crystal Lake is a better series when it moves away from the horrors of the slaughter that became so iconic in the film franchise. By giving this more of a psychological bent and slanting it more to Pamela Voorhees, what emerges is a series that's a little smarter and more deserving of the A24 label it carries.

Yes, there's a familiar tale of an oppressed woman finding her power and yes, it's another spin on males abusing their position, but Crystal Lake benefits greatly from both Cardellini's fragility and strengths as an actress. There's much to be said about the show that's currently under wraps at the behest of those behind it, but there are some smart subversions of what you'd expect of the prequel to the infamous killer and certainly episode 7 of the show is one of the most upsetting hours of TV you're likely to see this year.

That's due to the investment you'll put into Cardellini's Pam and her journey (it's never a plight, because the character finds unexpected strengths) and while there are nods to the horror franchise along with some truly gnarly kills that wouldn't feel out of place in the 1980s film genre, the shocks and disturbing elements are mostly of the mind.

Crystal Lake takes a dip into the horror genre but at its heart, this is a tender and upsetting portrayal of the impact of grief, the desperation of a mother thwarted and of a life changed. It's hard to say the word victim here, because in truth, this is a perverse journey of empowerment made all the richer by its final girl's powerhouse performance.  

All eight episodes of Crystal Lake were viewed for the purposes of this review.

Crystal Lake premieres on Neon from Thursday, October 15.

VisionQuest: Review

The latest Marvel TV series featuring Paul Bettany's Vision continues some of the ethos of WandaVision as it wraps up the trilogy arc that also included Agatha All Along.

At the start of this run though Bettany's Vision is in hiding and has rebooted himself after having escaped from those who wanted to weaponise him. Working in a pub in Edinburgh and living in a stately house with what initially appears to be a mix of butlers and advisers, Vision spends his days working on his past and trying to recapture some of his former glories. (As one remarks, "He has the memories, but he doesn't have the feelings to go with them.")

But when his world is turned upside down by the arrival of bounty hunter Paladin (Todd Stashwick, in laconic, charismatic form) and the apparent capture of his son Thomas Shepherd, Vision is forced out of hiding to confront not only those who would hurt him but also his own place in any future.

There's a great deal of scope to this series, which crafts an intriguing tale of the damage done by family and the love fathers and sons have for each other. All of that encompasses plenty of other thematic and Marvel elements that are too spoilery to discuss here as the twists and turns play out over the eight-episode season.

Suffice it to say that the occasionally abstract plot doesn't mess about early on and most of what's set in motion is revealed by two thirds of the way through episode one of the show, which may leave you puzzled as to how the other episodes will play out. It's enough to reveal the opening gambits pay off and there's much more than you'd expect later on.

But at its heart, this show relies solely on Paul Bettany and his interaction with others; chiefly James Spader's Ultron, who is living in the attic of Vision's home for reasons that become clear toward the end of episode one and which play on the theme of forgiveness and grief.

It's not ruining much to say that Spader delivers the role of his life here and Bettany's almost-underplayed role here makes the Vision and Ultron pairing feel like an episode of the earlier seasons of The Blacklist where Spader's Red had all the answers but never revealed them. It's an intriguing dynamic and Spader really does act Bettany off the screen at times. It's his show, even though he's not in the title.

(Though it's worth noting the uncanny parallels between Matalas' Star Trek: Picard Season 3 and some of the themes of this - it's not just Stashwick that crosses over.)

Visually, the series looks stunning. Action sequences are kept to a taut minimum and while later conflicts see the CGI in action, they're impressive, well-executed and propel the plot along, rather than feel shoehorned in. By the end of the series, while it does follow the familiar route of antagonists duking it out, the route to get there is well-worth investing in.

Of the ensemble, the aforementioned Stashwick impresses as does Emily Hampshire as Vision's AI companion Edith, and James D'Arcy as Jarvis. Diane Morgan turns in what can only be described as another version of the character she's played over the years.

But the occssionally emotionally empty show solely belongs to Spader and to a slightly lesser extent Bettany. To write off Ultron here is to do a disservice to the depths the story goes to - but like both sides of a coin, it doesn't work without the other. For a show about AIs, their performances are anything but artificial.

There will be some who will take umbrage with VisionQuest's journey. But in bundling together a philosophical debate with a crime mystery and extremely prescient concerns about tech and AI, VisionQuest shows Marvel's willing to take creative swings in unexpected ways to produce impressively different results.

All 8 episodes of the season of VisionQuest were viewed for the purposes of this review. VisionQuest premieres exclusively on Disney+ from October 14, with the release of episodes 1 and 2.