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A kid growing up in the 80s was treated to a smorgasbord of cartoons, the likes of which I would argue we may never see again. Though the animation quality was nowhere near the level of modern animated fare, there was something about shows like M.A.S.K., G.I. Joe, ThunderCats and He-Man that just captured a child's imagination and led to countless hours of fun playing with the shows' action figures.

I remember anytime I heard the familiar trill of the Filmation logo, culminating in that distinctive "ting!", I knew I was about to hear the iconic He-Man theme and be treated to 30 minutes of campy fun, usually with a life lesson thrown in along the way.

And while there was already an attempt to bring the blonde, muscle-bound hero to live action, the result wasn't great. I'm sure there are fans of the 1987 Masters of the Universe film, but I personally felt like it left a lot to be desired and was a He-Man adaptation in name only.

So when the news broke that a new live-action He-Man movie had finally escaped development hell, I was cautiously optimistic. The casting news sounded promising (despite the whole Jared Leto of it all), and when I heard Travis Knight was on board to direct, my interest was definitely piqued.

Now, I watched this movie in theatres when it first came out, and I have recently rewatched it on Amazon Prime, and, I know this is probably an unpopular take, I found the movie... fine?

Firstly, the good bits.

I felt like the set pieces, costuming, and casting were spot on. Nicholas Galitzine as the goldilocked beefcake was perfect casting, suitably buff and with the makings of a great action hero. While Camila Mendes as Teela and Sir Idris Elba as Man At Arms weren't exactly one-to-one recreations of their source material counterparts, they still did a great job embodying their characters, though I would have liked to see Teela kick a little more butt :)

The rest of the supporting cast were perfectly serviceable, but I felt both Morena Baccarin as the Sorceress and Alison Brie as Evil Lyn were very underutilised. Brie especially, given we've seen what a great actor she can be in previous roles.

Surprisingly, the real standout was Jared Leto as Skeletor. Word on the street is that Leto is a pretty scummy human in real life, but his rendition of Skeletor, coupled with the CG head and prosthetic body, was a great take on Eternia's most iconic villain, and may raise a few debates about whether we should be separating the art from the artist.

And now the not-so-good.

What I felt really hurt the film was its lack of tonal cohesion. The movie takes a campy tone for the most part, but for some reason also decides to make fun of the source material it's adapting. Now, we all know the original show was made to sell toys, and the character names aren't exactly the most inspired, but there's no real reason to constantly keep pointing that out throughout the film.

And campiness done right can absolutely be a good thing, but it never felt like the movie fully committed to that tone. It seemed to meander from an almost parody-like approach into more serious territory, featuring deaths of henchmen that felt strangely at odds with the goofy dialogue we'd just been hearing. And personally, I felt like they were trying so hard to be humorous, but most of the jokes just fell flat.

Lastly, for the life of me, I don't know why they didn't incorporate the original He-Man theme a bit more in the movie score. The new Eternia theme is fine, but it really needed a bit more of that iconic vibe that the old school riff had.

Having seen reviews and takes from people online, I know a lot of people enjoyed the film, and it seems to be doing great on streaming, so I'm hoping the rumoured sequel takes the good bits from this movie and builds on them.

All in all, this was an OK movie that was still a lot better than the 1987 version. Oh, and if you don't know already, there are two end-credit scenes.

There was a time when seeing the Marvel logo at the start of a movie instilled a sense of excitement. It felt like a promise that the audience was going to have a good time. But ever since Avengers: Endgame, there just doesn't seem to be the same level of interest in comic book movies that there once was, with a few exceptions like Shang-Chi, Guardians of the Galaxy Vol. 3 and Spider-Man: No Way Home, to name a few.

Now, I don't know whether it's superhero fatigue or a lack of good stories causing this general disinterest in superhero movies these days (to be honest I think it's a bit of column A, and a bit of column B), but after the recent lukewarm reception to the DCU's Supergirl, I was a little concerned about how well Spider Man: Brand New Day would fare. Particularly since this is the last MCU movie we will get before Avengers: Doomsday. If Brand New Day flopped, it wouldn't bode well for the MCU's next big tentpole.

But it turns out I needn't have worried. Walking into the theatre today for the 8:30pm showing, I was surprised to discover that the movie was sold out. I can't remember the last time I saw a sold-out theatre in Auckland. It looks like whatever fatigue there may be, people are still going to turn up for their favourite webhead.

And lucky for them they did, because the fourth movie starring your friendly neighbourhood Spider-Man is an entertaining spectacle that deals with the aftermath of the events in No Way Home. Everyone has forgotten that Peter Parker is the Wall-Crawler, and we follow Peter as he tries to throw himself fully into fighting crime, ostracising himself from anyone who might get close to him.

Destin Daniel Cretton takes over directing duties from Jon Watts for this latest instalment, bringing a bleaker and darker take on Spider Man. The colour palette is more muted this time around, and it is both poignant and sad as we follow Peter struggling through his self-imposed exile.

The main trio of Ned (Jacob Batalon), MJ (Zendaya) and, of course, Peter (Tom Holland) are all back for the ride, joined ably by Sadie Sink in a great villainous turn. As with all the best villains, the audience can fully sympathise with her motivations and, hey, I'd probably do the same in her shoes.

Also appearing in supporting roles are Mark Ruffalo as the Hulk and Jon Bernthal as the Punisher. To be honest, these two are probably the weaker parts of the film. I think Ruffalo's arc could easily have been excised from the movie without having any real impact, while this iteration of Bernthal's Punisher just seems at odds with his portrayal in other shows like Daredevil and his own titular show. I don't know, maybe it's just me.

Of the main cast, we already know how great Batalon is at providing comic relief, while Zendaya is once again back at her snarky best. But it's Holland who really carries the movie, delivering just the right level of angst, regret and pathos. In the wrong hands, this kind of characterisation can go horribly wrong (see Sam Raimi's Spider-Man 3), but Holland does a great job here and adds another layer to the Spider-Man we know and love.

Cretton's direction also brings a new dimension to Spidey. We already know the director can shoot action from his time behind the camera on Shang-Chi, and he brings those same sensibilities to Brand New Day. The action sequences in this film are great and, I would say, probably the best we have seen from the MCU iteration of Spider-Man. Coupled with the more dour tone, it brings a breath of fresh air to the franchise. At times it also feels like Cretton imbues this film with some of the best bits from the Raimi and the Amazing Spider-Man movies as well.

Composer Michael Giacchino once again delivers an excellent score, albeit one that echoes the more sombre tone of the film. It riffs on the whimsical themes of the previous movies, but with an added touch of sadness and a more ominous edge.

There's a lot to like about Brand New Day and, if the applause at the end of my showing is anything to go by, you won't regret seeing this one in the cinema. And make sure you hang around right until the end for the single post-credits scene.

I'll confess, I haven't read either the Iliad or Homer's The Odyssey, and everything I know about the story has been gleaned from abridged versions of the tales or their portrayals in film. However, I don't think you need any prior knowledge of the story to enjoy Nolan's depiction of The Odyssey.

I think your enjoyment of the film will depend entirely on how much your perspective is influenced by historical accuracy and remaining true to the period in which the story takes place. From my point of view, this is an adaptation of a tale that has been passed down for centuries, portraying a world filled with myths and monsters. So I am fine with any creative liberties that may have been taken, as long as they culminate in a good story.

And that is exactly what Nolan has delivered. He has created an epic to rival The Ten Commandments or Ben Hur, but updated for modern audiences.

This is a fantastical tale centred on Matt Damon's Odysseus as he attempts to return home to his wife, Penelope (Anne Hathaway), and son, Telemachus (Tom Holland), after a long and gruelling absence fighting in the Trojan War. Although this is a story rooted in myth and legend, it is definitely not romanticised in the way other mythical tales often are.

The world Nolan has constructed is intense, bleak, and visceral. As is his wont, he hews towards as much realism as possible. Well, as much realism as is possible in a film containing Cyclopes, giants, and other mythological trappings that I won't spoil here.

The end result is a beautifully shot and brutal masterpiece that is sure to become an instant classic. Nolan proves yet again why he is considered a master storyteller, ably supported by a stellar cast that clearly understands the assignment.

Damon, Hathaway, and Holland are excellent in their roles, showcasing the brutality of war, the heartbreak of family, and the sense of futility surrounding it all. Robert Pattinson as Antinous and Corey Hawkins as Polybus, two potential suitors pursuing Penelope during Odysseus' absence, are delightfully evil. They give us antagonists who are a pleasure to hate, with the audience eagerly waiting for them to receive their comeuppance.

Two surprise standouts in the film were John Leguizamo and Himesh Patel. I won't go into too much detail about their roles, but they were delightful in their portrayals and played some of the film's more poignant characters.

Of course, I also need to shout out Ludwig Göransson for yet another phenomenal score. Göransson has created a musical soundscape of epic proportions to match everything we see on screen, and it could easily rival the likes of Hans Zimmer's Gladiator soundtrack in terms of calibre.

Now, if there is one negative about the film, it is the vocal audio. Nolan has long struggled to achieve a clear sound mix for spoken dialogue, and The Odyssey is no exception. There are moments when you may struggle to hear what the characters are saying because their voices are muffled or drowned out by ambient sound. Thankfully, these moments are few and far between and mostly occur early in the film.

All in all, if you want a movie that is not afraid to show the horrors of war while also exploring a world of gods, myths, and monsters, or if you simply want to watch an exceptionally well-made film, then you cannot go wrong with The Odyssey.

And if you can, I strongly recommend watching it in IMAX.

I really enjoyed Superman (2025), the first live-action feature foray into James Gunn's DCU. David Corenswet's Superman was exactly the kind of optimistic hero needed in these modern times, and I felt it was a strong start to this newly rebooted cinematic universe. It was also our first introduction to the DCU's new Supergirl, played by Milly Alcock, who was clearly not cut from the same cloth as her cousin. It was a short yet interesting take on Kara Zor-El, and it made the upcoming Supergirl movie even more intriguing.

As I went in to watch the film yesterday, my expectations had been somewhat lowered. Critics were pretty much lambasting the movie, but I still wanted to check it out and make up my own mind.

And I am glad I did. This film is not the train wreck it has been purported to be, nor is it a flat, plain bore. Milly Alcock is perfect as the angst-ridden Kara and is inherently likable, even as her character tries to push away everyone who gets close to her.

The main strength of Supergirl is the titular character herself. Alcock plays her with just the right mix of pent-up grief and no-f*cks-given attitude, creating a character who is both entertaining and poignant. I also really enjoyed the cosmic world that director Craig Gillespie built, filled with a good mix of strange locations and fantastical creatures. The first two acts of the film were very strong in my eyes, taking us through multiple hives of scum and villainy while helping to expand the world Gunn established in Superman.

The whole Lobo of it all was fun for a little while, but eventually it just felt like Momoa doing his usual schtick. I will agree that he suits this role better than he did Aquaman, and I hope he gets more to do in future films.

The weakest part of the film was the main villain, Krem. He came across as a generic bad guy who never seemed to pose as much of a threat as the film made him out to be. Another weak point was Eve Ridley as Ruthye. Her character was pretty one-note and did not have much depth. Imagine Inigo Montoya's “You killed my father, prepare to die” delivered in a flat monotone, and that is pretty much Ruthye for the entirety of the film.

In short, Supergirl has two strong opening acts before devolving into a fairly generic action slog towards the end. Milly Alcock was the highlight, and her interactions with her cousin are something I am looking forward to seeing more of.

And as much of a dog lover as I am, I do hope they tone down the Krypto side of things in future movies featuring the Super family.

This is a good, but not great, addition to the DCU, and I would give it a 7 out of 10. There are also no mid or end credit scenes for the film.

It's hard to imagine any moviegoer not recognising the name Steven Spielberg. The prolific filmmaker is synonymous with modern cinema and has been responsible for some of the greatest classics of all time, but it's been a while since he directed something that truly stood alongside his all-time greats.

When the first trailers for Disclosure Day came out, I wasn't exactly buzzing with excitement. It looked interesting, but it wasn't the kind of film that immediately made me feel like I had to see it on the big screen. I'm glad I did.

In my personal opinion, this movie is a return to the Steven Spielberg of old. It captures the sense of childlike wonder that was so pervasive in films like E.T. and Close Encounters of the Third Kind, taking us into a world of science fiction while grounding it enough to remain accessible to a broad audience.

There's a central mystery that carries through the entire film, and while the story beats are slightly confusing at first as we try to figure out the rules of this world and what exactly is happening, Spielberg excels at the "show, don't tell" approach. He slowly unveils the film's central conceit in a way that never feels like exposition for exposition's sake. Elements are carefully set up throughout the first and second acts, many of them quietly in the background, and they pay off in a big way during the final act.

While Spielberg reminds us why he is considered one of the greatest filmmakers of all time, the star-studded cast also does a lot of the heavy lifting in making this such a stellar movie. Emily Blunt is quirky and charming as Margaret Fairchild, an unwitting participant in the events unfolding around her, and she serves as the glue that holds the entire film together. Supporting her are Josh O'Connor, Eve Hewson, Colman Domingo, and Wyatt Russell, all of whom deliver strong performances and bring something uniquely likable to their respective roles.

While Colin Firth's Noah Scanlon and Henry Lloyd Hughes' Casper Boyd loom as threats throughout the film, I felt they were ultimately more of a means to an end. Firth is a capable antagonist, but his character's motivations seemed to wax and wane as the story progressed. Personally, I thought they were the weakest part of the film. The real strength lies in watching the dynamic between Domingo, Blunt, O'Connor, and to a lesser extent Hewson, as the central mystery slowly unravels around them.

I hadn't looked up who composed the score before going into the movie, but throughout the film, I kept thinking how impressive it was that the music felt so distinctly John Williams-esque, perfectly reinforcing that classic Amblin feeling found in films like E.T. The score is fantastic, and I was genuinely surprised when I discovered that the composer was none other than John Williams himself. A fitting match for what I consider Spielberg's return to form.

Some people may find the film a little slow, as it isn't packed with action set pieces, but I think this is trademark Spielberg. The deliberate pacing allows us to sit with the characters and fully immerse ourselves in the journey.

The few criticisms I have are that the ending feels a little abrupt and may leave some audience members wanting more closure. I also think Spielberg is perhaps a little optimistic in his portrayal of how society as a whole would react to certain revelations. Other than that, I had a great time with this film.

There are no end credits scenes, and I think this is absolutely worth watching in theatres.

I have been a Star Wars fan from way back, ever since I watched a VHS copy of the movie my aunt sent me when I was four. I had no idea what was going on most of the time, but there was something about "A New Hope" that made me watch it on repeat.

But since the Original Trilogy, Star Wars fans have had their fair share of highs and lows from the Galaxy Far, Far Away. Both the Prequel and Sequel Trilogies have their fans and detractors. I personally liked "The Force Awakens", didn’t mind "The Last Jedi", and can honestly say I barely remember "The Rise of Skywalker". But there hasn’t really been a recent Star Wars film that has united both fans and critics in universal praise.

And let’s be honest, I don’t think anyone expected "The Mandalorian and Grogu" to suddenly usher in a new golden age for Star Wars. The show itself has always been enjoyable enough, but also fairly inconsistent, and I think the general consensus heading into this movie was that it would basically be an extended episode of the series, just with a theatrical budget behind it.

And honestly, they were right. The entire film feels like a stretched-out “monster of the week” episode of "The Mandalorian", albeit with significantly better production values.

The action set pieces are probably where the bigger budget is felt most clearly, with sharper choreography and a far more kinetic camera style than the show. There are a few standout sequences that really let Mando show off his combat skills, and the White Dragon Snake sequence from the trailer is one of the best moments I can mention without venturing into spoiler territory. The increased scale also comes through in some of the alien cityscapes, with crowds of extras moving through beautifully realised streets that almost feel "Blade Runner-esque" in places. There is also a fight scene featuring antagonists animated with an intentionally jerky, stop motion quality that feels like a direct homage to some of Phil Tippett’s work from the Original Trilogy. Honestly, I wish they had leaned into that style even more.

Ludwig Göransson’s score is once again excellent, but there was one synth-heavy track that felt a little out of place stylistically, though that may just come down to personal preference. It never became jarring enough to pull me out of the experience.

But despite all of that, this movie just never really moved the needle for me. In trying to accommodate general audiences, it feels like the film sidelines much of the character development and progression established in "The Mandalorian", almost soft rebooting the dynamic so newcomers can jump in without homework. That is a shame, because the movie ends up repeating a lot of familiar beats from the series and occasionally feels like a rehash rather than a meaningful continuation. Some of the casting choices were also genuinely puzzling. Jeremy Allen White as Rotta the Hutt is one of the film’s top-billed cast, yet the character is fully CG and the voice is processed to the point where it could honestly have been performed by almost anyone. It comes across as stunt casting more than anything else, and personally, I wasn’t particularly fond of Rotta’s design either.

Look, I know there will absolutely be people who have a great time with this movie and are perfectly happy getting a feature-length version of "The Mandalorian". But personally, this felt far more like something that should have premiered on Disney+ rather than receiving a full theatrical release.

I walked out of the cinema feeling pretty… whelmed. I wasn’t excited, but it wasn't atrocious. It just sort of existed. One thing I will say, though, this movie feels long. There were multiple points where I genuinely thought the film was about to wrap up, only to realise there was still quite a bit left to go.

If I were you, I’d probably wait until it hits streaming. That said, I can absolutely see this being a fun watch for families and younger Star Wars fans.

And no, there are no end credits scenes.