The first episodes deliver a strong start. They honour the legacy of Fallout: New Vegas while carving out new narrative space, with compelling performances, immersive design, and thematic depth. Most importantly, they capture the paradox at the heart of Fallout; a world ravaged by apocalypse yet still teeming with humour, hope, and resilience. For fans who have waited two years, the return is more than worth it. We rate it a convincing 5 out of 5!

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The SpongeBob Movie: Search for SquarePants delivers exactly what you’d expect: bright colors, silly jokes, and SpongeBob’s trademark optimism. It’s fun, wacky, and over-the-top, but narratively it doesn’t bring anything new to the table. For kids under ten (or adults who are kids at heart) it’s a delight. For longtime fans hoping for something inventive, it may feel like déjà vu. We rate it a strong 3 out of 5!

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Leaving the theater after Die My Love is not like leaving most films. There is no chatter, no laughter, no easy debrief. There is silence. The audience sits with what they have seen, grappling with its weight. It is not a film that entertains, but one that confronts. And in that confrontation lies its power. We rate it a strong 3 out of 5!

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Wright’s The Running Man is slick, fast, and visually sharp, with Glen Powell powering a tense dystopian chase. The action hits, the world‑building lands, and Colman Domingo shines, but thin themes, wasted side characters, and a messy final act keep it from greatness. Big spectacle, lighter substance.

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Despite its flaws, Shelby Oaks is a well-made film. The cinematography is strong, the sound design effective, and the performances solid. Sullivan carries the film with quiet determination, and Sarah Durn’s Riley is charismatic enough to make her absence haunting. There’s charm in the film’s ambition, even when it overreaches. We rate it a promising 4 out of 5.

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There’s something quietly brilliant about Bloke of the Apocalypse. It’s not loud, it’s not polished, and it’s certainly not trying to be the next big thing. But in its own understated way, it’s one of the most distinctive animated projects to come out of Aotearoa in recent memory. We give it an ambitious 3 out of 5!

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Chainsaw Man – The Movie: Reze Arc is simply a film of two halves. The first is a slow-burning romance that builds emotional stakes. The second is a chaotic descent into violence that shatters those stakes with explosive force. It’s a bold experiment in tonal contrast, but not always a successful one. We rate it a daring 3 out of 5!

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A vicious, tightly wound survival shocker that traps you on a boat with a heroine worth fighting for and a villain you can’t look away from. Harrison is fierce, Courtney is unhinged, and the film blends captivity horror with shark‑terror chaos in a way that’s bloody, claustrophobic, and wildly entertaining. A lean, nasty genre ride that knows exactly what it’s doing and revels in every sharp‑toothed moment.

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The Conjuring: Last Rites closes the Warren saga with more heart than horror. It delivers emotional payoff for Ed, Lorraine, and Judy, but the scares feel familiar, the tone wobbles between spooky and sentimental, and the two‑plot structure never fully gels. Strong performances keep it grounded, yet as a finale it plays more like a gentle farewell than a terrifying send‑off.

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Pike River is a quiet, harrowing memorial. A film that refuses spectacle and instead sits with the families’ grief. Anchored by Lynskey and Malcolm, it’s intimate, restrained, and devastating in its honesty, haunting you with what it withholds rather than what it shows.

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Despite its uneven tone and ethical quandaries, Eleanor, the Great is a film that lingers. It presents a portrait of a woman who is flawed, funny, and heartbreakingly human. Squibb’s performance is the glue that holds it all together, infusing Eleanor with a vitality that makes her impossible to ignore. we rate it a touching 4 out of 5!

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A Big Bold Beautiful Journey resembles less a sweeping romantic odyssey than a lightly sketched therapy session...For some viewers, particularly those drawn to gentle romances or imaginative premises, the film will offer pleasures. But for many, it will feel like a missed opportunity. We rate it a serviceable 3 out of 5.

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Weapons is a film that deserves recognition for its ambition and its ability to sustain suspense. It is refreshing to see a horror-mystery that withholds rather than overexplains, that chooses mood over spectacle...It is a film that lingers, unsettling in ways that straightforward horror rarely achieves. We rate it a top-tier 5 out of 5!

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Demon Slayer: Kimetsu No Yaiba – Infinity Castle is both exhausting and exhilarating. It delivers over two hours of beautifully rendered combat, intertwined with tragic histories that aim for the heart. It is easy enough to follow for newcomers, though the deeper emotional resonance requires the investment of watching the series first. We rate it a promising 4 out of 5.

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For audiences steeped in the history of Flying Nun, post-punk, and underground New Zealand music, the film is a treasure trove. It is filled with stories, songs, and footage that resonate deeply with those who lived through or later discovered that world. For others...it may feel niche. This is not a film designed to convert casual listeners, it is one made for those who already care. We rate it a promising 3 out of 5.

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Splitsville offers a comedy that is not afraid to wrestle, literally and figuratively, with jealousy, desire, and friendship. It may be chaotic, uneven, and even predictable, but it is also warm, funny, and surprisingly heartfelt. We give it solid 4 out of 5!

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Its blend of action, eccentric encounters, and dark humour makes it a memorable entry in modern crime-thriller cinema. Hank Thompson may not be the most likeable hero at first, but [...] With Kravitz’s strong performance and a lively supporting cast, Caught Stealing is a fast, violent, and fun story set in the chaotic heart of New York’s criminal underworld. We give it a promising 3 out of 5.

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All in all, The Naked Gun delivers a mixed bag of comedy. Some gags hit hard. Others are total misses. But the sheer volume of jokes ensures there is never a dull moment. For anyone willing to turn off their brain and embrace the absurdity, there is plenty of fun to be had. It is not refined, and it certainly isn’t consistent, but it is undeniably entertaining. A solid 4 out of 5!

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Jurassic World: Rebirth is all spectacle, no soul. Despite Gareth Edwards’ stunning visuals and a few strong creature moments, the film sidelines its dinosaurs, leans on thin characters, and splits its focus between two undercooked plots. With unlikeable leads, recycled franchise beats, and action that lacks emotional stakes, it looks like Jurassic Park but never recaptures its awe or danger.

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M3GAN 2.0 trades slow-burn horror for glossy sci‑fi chaos, turning its killer doll into a quippy action anti‑hero. The AMELIA storyline brings big set pieces and campy doll‑versus‑doll battles, but thinner characters and uneven tone keep it from hitting as hard as the original. Still, it’s slick, silly, and crowd‑pleasing; a sequel that knows it’s here to entertain, not terrify.

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