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Published by Mason Oldridge, 15 October 2025 Jude Law and Jason Bateman are the big stars leading on this Netflix crime thriller. Jake Friedken runs the successful Black Rabbit restaurant and is preparing to expand with a second hotspot, but his swanky life is turned on its head when his erratic brother Vince brings trouble to his door, owing dangerous and violent loan sharks. The series is both aesthetically and tonally dark and the first four episodes are relatively slow and boring. Jake and Vince primarily communicate with explicit language and cocaine use is presented as perfectly normal behaviour. However, the pace picks up dramatically from the robbery onwards. The armed heist is watched in a new light compared to the flashforward at the start of the series, now knowing that Junior and Vince are the masked robbers and is quite eventful as it results in multiple casualties including two deaths. Furthermore, Vince on the run being hunted by Mancuso as the news of Wes’ death breaks is particularly thrilling and makes for tense viewing. The ending is a powerful one as Vince confesses all to police before throwing himself from the roof of the Rabbit, a death all the more devastating as he falls so nonchalantly as Jake watches in stunned horror. It feels pointless that Jake and Vince put so much effort into saving Vince from being killed, only to then kill himself in the end. Apart from Jules who is rightfully arrested, it is debatable whether the rest of the characters get the ending they deserved too. Strong performances from Law and Bateman drive the sinister and serious feel of the series. A gripping second half awaits for anyone who has patience with the lacking first half. 7/10

Published by Mason Oldridge, 24 December 2024 All aboard! Christmas is about seeing family, exchanging presents and celebrating the birth of Jesus, but it is also about delving into a fantasy land where the snow does fall and the magic is real. Here are some of the best festive films to countdown to the big day! Albert (2016) In a world of anthropomorphic plants, this Nickelodeon Original Movie follows Albert, a small douglas fir tree, as he dreams of becoming the Empire City Christmas tree. Along with his friend Maisie and the weed in his plant pot, they set off on the journey to realise his dream. However, they have to fend off an angry cactus and a hoard of hungry rabbits just to get there! The comedy is funnier than what you’d expect from Nickelodeon and visually, the film delivers on a Christmas spectacular. The Grinch (2018) How the Grinch Stole Christmas is a classic Christmas tale, though it is the CGI adaptation from Illumination that visually tells the Dr Seuss story the best. The people of Whoville love Christmas though the grumpy green creature that lives in the mountain above does not and steals all the decorations and presents from the townsfolk, until a little girl shows him kindness and he realises he hates loneliness rather than Christmas itself. The visuals of the decorated town are incredible and there’s laughs aplenty as The Grinch devises his plan alongside his dog Max and, in this version, enlists the help of overweight reindeer Fred, who provides the best of the comedy. National Lampoon’s Christmas Vacation (1989) Starring Chevy Chase and Beverley D’Angelo, Christmas Vacation is the classic 80s Christmas film. It follows Clark Griswold, an old-fashioned family man as he attempts to give his family the hap-hap-happiest Griswold family Christmas they’ve ever seen, inspired by his childhood Christmases. However, in true Lampoon style, the season is a disaster. As the household welcomes all the extended family including parents, grandparents and Cousin Eddie’s clan, there’s faulty house lights, overcooked turkey and fried pussycat. Clark manages to keep his cool until the final straw of not receiving his Christmas bonus he was relying on to put in a swimming pool, culminating in the comedy gold of Clark’s angry outburst. Further comedy is provided by the misfortunes of the arrogant neighbours, though the film also provides the look of a traditional family Christmas only seen in films nowadays. Home Alone (1990) A script by John Hughes and music by John Williams is the recipe for the perfect Christmas film. As soon as the first orchestral sounds play, nostalgia kicks in and the screen opens on that iconic Chicago home. The plot is simple but genius: Kevin McCallister is accidentally left home alone when his large family jets off for a trip to Paris. Believing he’s made his family disappear after wishing it the night before, Kevin enjoys his newfound freedom, sledding down the stairs and overindulging in junk food. The pinnacle of the film is the church scene where he learns his elderly neighbour Old Man Marley, a rumoured murderer, is actually a sweet old man who has sadly lost contact with his son. This heartwarming moment as Carol of the Bells plays is the ultimate Christmas scene and fits perfectly as a prelude to Kevin executing his battle plan for the burglars attempting to burgle his home. The traps sequence is quite simply the best piece of slapstick comedy of all time and the film also has a perfect ending as Kevin is reunited with his family he has grown to miss and waves to Marley, who is too reunited with his family. Elf (2003) Son of a nutcracker! Will Ferrell is perfect as Buddy, a human raised as an elf in the North Pole after he crawled into Santa’s sack as a baby. The film follows Buddy as he embarks on a journey to New York to meet his biological father, a grumpy businessman. Elf is arguably the funniest film on the list with most of the comedy arising from Buddy believing he is a Christmas elf, much to the confusion of the people he encounters in the Big Apple. Notable scenes include his disgust at the fake Santa at Gimbels for impersonating his hero, referring to a character with dwarfism as an elf and his skilful snowball fight. The comedy may be on top form but the Christmas element is too. As Buddy begins a relationship with Gimbels employee Jovi and his family warm to him, he must then convince New York to believe in Santa, whose sleigh, which runs on Christmas spirit, has crashed in Central Park on Christmas Eve. The Polar Express (2004) Tom Hanks is stellar in his multiple roles in this magical motion-capture film. A young boy losing his faith in Santa Claus can’t believe his eyes when a giant locomotive stops outside his house on Christmas Eve destined for the North Pole. Welcomed aboard by the eccentric conductor who bears a striking resemblance to Hanks himself, the boy joins a carriage of children as they head on an incredible journey. The children enjoy hot chocolate set to a catchy song, the boy meets a homeless ghost on the roof, the train is met with challenges such as caribou on the tracks, frozen rails and missing tickets, but throughout the entire journey the visual landscape is absolutely stunning, with a breathtaking snow-covered backdrop proving the lifelike animation method was the right choice. Having arrived on time thanks to the conductor’s strict schedule, the boy is gifted with a bell that only rings for believers, aligning with the story’s overarching message about believing. The Snowman (1982) This cartoon adaptation of Raymond Briggs’ picture book has become a staple of Christmas in the UK and is a Christmas Eve classic. The silent special depicts a young boy who builds a snowman that magically comes to life. The snowman plays in the house and rides a motorbike through a forest before the famous scene where he flies with the boy to the North Pole, set to the choral Walking in the Air. Along with a bunch of other snowmen, they meet Father Christmas and his reindeer, dancing merrily before the big man sets off. Upon returning, the boy wakes the next morning to find the snowman has melted. Despite the sad ending, the cartoon truly captures the magic of Christmas and is a must-watch on Christmas Eve. 30 years later, a sequel was produced in which a new family move in and rebuild the snowman, along with a snowdog, and again fly to the North Pole, this time engaging in a skiing competition with a competitive penguin. This follow-up maintains the same nostalgic feel of its predecessor and they should be watched together in succession. Home Alone 2: Lost in New York (1992) Borrowing heavily from the first while maintaining enough originality to stand strong on its own, Home Alone 2 is a welcome return to the McCallisters. Sleeping in again for their Christmas vacation, Kevin isn’t forgotten this time but is separated from his family at the airport and boards a plane to New York as the rest jet off to Florida. Running havoc at the Plaza Hotel, Kevin makes the most of his time in the city, befriending a charitable toy shop owner and a bird lady in Central Park. However, Kevin’s fun is short-lived as the Wet Bandits have broken out of jail and are on the boy’s trail. This time, Kevin uses his uncle’s dilapidated house to set even more nastily brutal and excruciatingly painful traps for the bumbling burglars before once again being reunited with his family. While it can be seen as a risk to follow up such a successful film, the attempt paid off as this sequel lives up to the magic of the original. Merry Christmas ya filthy animals!

Published by Mason Oldridge, 7 October 2025 Let him entertain you! Starting at the age of 16, Williams has gone from the so-called “fat dancer from Take That” to solo superstardom. While the boyband may be the chilled 90s music your mum listens to, the Stoke-born singer broke free some three decades ago and created his own image as a pop rock legend. As he prepares to release his thirteenth album, we take a look back at the solo career of one of Britain’s biggest stars. Williams’ debut single was a cover of George Michael’s Freedom in 1996 before releasing debut album Life Thru a Lens in 1997. Singles Old Before I Die, Lazy Days and South of the Border demonstrate how the record was largely inspired and defined by the Britpop sound of the 90s era, with grunge-esque production and whiny vocals. However, it also contained what would become one of the most famous songs of all time: Angels. The emotional ballad was a change in sound to the rest of the tracklist, with a reduction in pace and less reliance on guitar. In association with themes of death, afterlife and remembrance, its universal relatability was the key to its success, with millions establishing different personal meanings and attachments to the anthem. Finally, Let Me Entertain You also inhabits its own style, leaning more into glam rock with fast-paced instrumentation, Kiss-inspired aesthetics and fun lyrics full of double entendres. Follow-up I’ve Been Expecting You, released in 1998, features the glitzy and glamorous Millenium, the partly acoustic Strong and the darkly sinister No Regrets. Meanwhile, piano ballad She’s the One is actually a cover that outperformed the original and served as a double A-side with FIFA 2000 soundtrack It’s Only Us. Third album Sing When You’re Winning was released in 2000 and would see Williams really come into his own here, ditching the now-dead Britpop and welcoming the post-millennial pop rock sound. The record would birth the feelgood anthem Rock DJ, accompanied by its graphic music video. Kids is a heavy duet with Kylie Minogue, Supreme incorporates sampled strings and Let Love Be Your Energy is epic from its opening beats, with the inspirational titular message as its heartbeat. Slow ballad Eternity spotlights Williams’ more emotional side, while its other A-side The Road to Mandalay, a simplistic tune, closes the album. He released the swing album Swing When You’re Winning the following year in 2001, containing original song I Will Talk and Hollywood Will Listen and a duet with Nicole Kidman on Somethin’ Stupid. In 2002, fifth album Escapology was released. Lead single Feel opens on delicate piano, while its guitars usher in an enchanting melody. Come Undone tells of the downside of fame and cocaine withdrawals, while its controversial music video depicts a hedonistic lifestyle, notably Williams engaging in three-way sex. Something Beautiful is much more innocent with its playful keys and trumpet, while Sexed Up is an emotional acoustic offering. Williams’ first greatest hits compilation was released in 2004, containing two new songs. Radio is energetic, heavy and fast-paced whereas Misunderstood is much slower and contains harmonica. Intensive Care is the sixth album, released in 2005. Lead single Tripping is an innovative track described by Williams as “something like a mini gangster opera” in which he reaches falsetto on the chorus, whereas Make Me Pure is an acoustic track. Advertising Space is a ballad which sees Williams emulate Elvis Presley and Sin Sin Sin is a joyous offering of liberation that feels somewhat like a 00s sequel to Pet Shop Boys’ It’s a Sin. Rudebox was released just one year later in 2006 as his seventh album. Featuring a mix of original songs and covers, the record would lean more into dance and, despite relative success, marks a flop in quality. The title track is primarily a rap from Williams, which isn’t his forte, and contains several cultural references, while the most successful of the covers is the electronic Mark Ronson-produced Lovelight. Elsewhere, She’s Madonna is an ode to the singer and features the Pet Shop Boys. While a lot of the music has aged poorly, some tracks can still be enjoyed on face value, though there is an underlying novelty effect among them. Reality Killed the Video Star is his eighth album, released in 2009, and marks a return to form with his pop rock sound. Opening track Morning Sun features harmonica and was influenced by the death of Michael Jackson, lead single Bodies tackles self-confidence and religion with a desert-set music video and You Know Me is a more smooth offering and has an Alice in Wonderland inspired MV. In 2010, Williams reunited with Take That for a new album and embarked on the groundbreaking Progress tour as well as releasing Shame, an acoustic duet with Gary Barlow focusing on their troubled relationship, and another new song Heart and I on his second greatest hits compilation. After then leaving his boyhood band for the second time, Williams released ninth album Take the Crown in 2012. Lead single Candy leans into pop and the joyous track was commercially successful. Other singles include baroque pop song Different and pop rock track fused with synth and saxophone Be A Boy. The following year, he released a second swing album Swings Both Ways in 2013. It contained a mix of covers and original songs (notably Go Gentle) and featured many duets with existing stars. Eleventh album The Heavy Entertainment Show came in 2016. Lead single Party Like a Russian comments on the partygoing lifestyle of Russian oligarchs and incorporates strings so its sound compares with its subject, while Mixed Signals is written by The Killers, which shines through in its production. Following a turbulous career marred by drug abuse and mental health issues, Williams’ life became more settled with support from his wife Ayda Field and this is reflected in the single Love My Life. His most recent studio album was in 2019 with The Christmas Present, a festive album again featuring a mix of covers and original songs with many duets thrown in and headed by the lead single Time for Change. During the interim between then and now, Williams released XXV in 2022, featuring reworkings of his greatest hits to celebrate the 25th anniversary of his debut album and in 2024, a biopic of his life called Better Man premiered, with Williams portrayed as a motion captured chimpanzee, a bizarre reference to feeling like an outsider. Williams’ upcoming thirteenth album is called Britpop in relation to the subculture in which he began his solo career. We’ve heard a trickle of singles from it but, however the final product may sound, rest assured Robbie Williams is already one of the most successful solo acts to grace the British music scene in general!

Published by Mason Oldridge, 3 October 2025 Andrew Lincoln and Ewen Bremner star in this gripping ITV thriller. Traumatised by a violent incident at a playground, stay at home father John moves with his wife Fiona and children to the idyllic Scottish village of Coldwater to start anew, but soon finds himself trapped in the sinister orbit of his outlandish neighbour. Lincoln conveys the vulnerability and sensitivity of John well, while Bremner is chilling as the psychotic Tommy, delivering such a compelling performance as he fluctuates between his innocent God-fearing facade and his deranged sadistic true self. The unpredictability of the series drives the narrative, even once it becomes apparent it's a battle between the two households as every time they both meet is a tense and uncomfortable exchange, making for proper edge-of-your-seat viewing. Highlights include the confrontation in the garden with the hot tub, the dinner party and the final showdown between John and Tommy. The ending is bittersweet as, while the truth prevails and Tommy is revealed as a serial killer, justice is ultimately not delivered as it ends with Tommy on the run and Rebecca unexposed, profiled as a victim rather than an accomplice. As a couple asides, there is hauntingly some truth in Tommy’s final words as John’s involvement with him did take him from a broken shell of a man to a more confident figure, posing the psychoanalytical question: did Tommy truly like John right up to the end? Furthermore, in the aftermath interview, John is dubbed as simply the husband of a food writer in what is perhaps a commentary on masculinity? Despite Tommy and Rebecca evading their comeuppance, Coldwater is a truly thrilling watch and far outperforms that expected of an ITV production. 8/10

Published by Mason Oldridge, 24 April 2023 Netflix’s steamy new thriller may be short in run time but is nonetheless gripping and tense. Obsession sees William, an esteemed surgeon, begin an extramarital affair with his son Jay’s new girlfriend and later fiancée Anna. We learn Anna is emotionally damaged from a childhood experience and enjoys the thrill of it all while William becomes somewhat infatuated with her as the only explanation as to why he would jeopardise his happy family life. The risk ends in tragedy as Jay, upon discovering the two having sex in the secret flat, stumbles and falls over the bannister to his death. The dramatic plot is enthralling and thrilling constantly throughout, with how it all ends being unpredictable to the last minute. Notable scenes aside from the main twist include the infamous pillow scene in Paris and the final meeting of the two in which William expresses no regret and that he wouldn’t change things, both serving the purpose of highlighting truly how obsessed and seemingly addicted he had become. The leads both deserve praise for their performances as Richard Armitage delicately portrays remorseless shame in the final episode and Charlie Murphy is perfect as the seductive temptress. While it could be argued that this remake of the 1991 novel was unnecessary given the 1992 film adaptation, this version no doubt is a 21st century retelling with a stronger sense of drama and suspense. This miniseries is short enough to be watched in one sitting and is gripping enough for viewers to do just that. 8/10

Published by Mason Oldridge, 9 August 2024 Danny Dyer stars in Sky’s new comedy created, written and co-led by Plebs and Brassic star Ryan Sampson. The series follows mild-mannered carpet salesman Glen Campbell as his quiet life with his fiancée Kirsty is turned upside down by the arrival of his estranged brother Lee. Sampson demonstrates versatility as he is miles apart from the empty-headed Grumio in Plebs and the confident Tommo in Brassic, whereas Dyer embodies his typical Cockney geezer role. The comedy falls rather flat, which is quite unfortunate given that’s the genre. Granted, there are some funny moments such as the opening scene of Glen and Kirsty in the car park and Glen and Lee’s dance, but the majority of the comedic material is rather ridiculous and chaotic, specifically surrounding Adrian Scarborough’s character Ian and his newfound obsession with Lee. However, as the series progresses, the plot somewhat saves the show as more of a comedy-drama, with themes of family and masculinity explored. Glen’s erectile dysfunction and Kirsty’s kleptomania, likely a result of feeling neglected. Lee changing his mind about stealing the wedding fund. Glen attempting to stop Lee committing suicide. The series concludes open-ended with Kirsty receiving a photo of her and Lee kissing and Glen and Lee embarking on confronting their father, though whether a second series will materialise is yet to be seen as, where the story is there, the comedy is not. 5/10

Published by Mason Oldridge, 22 September 2025 We return to Jericho for the long-awaited second season of Netflix’s most watched show of all time. It’s a new term at Nevermore, now run by Principal Dort (expertly portrayed by Steve Buscemi), and Wednesday returns with her brother Pugsley as a new student. She loses her psychic abilities after having a premonition of Enid’s death, and works towards regaining her ability, saving Enid and solving a new mystery surrounding project LOIS. The mid-season finale proves an exciting and vital stage in the story. The breakout at Willow Hill is thrilling as it sees the dangerous characters of both Tyler and Slurp escape, with Wednesday injured. Furthermore, the extent of project LOIS reveals that the supposedly deceased Willow Hill patients are actually being held captive and experimented on, with Judi taking over her father Augustus Stonehearst’s immoral work. The second half sees Tyler reunite with his Hyde mother Francoise and her brother Isaac, the regenerated version of Slurp as the trio form the main antagonists of the second half. Isaac Knight proves to be the standout new character as Owen Painter is brilliant as the eccentric mad scientist, drawing comparison to Johnny Depp’s Edward Scissorhands. However, a few questions relating to frustrating elements are posed. Why are Morticia and Gomez present all the time now? Yes, Dort is fishing for donations but their constant appearances feel too much. Why does Pugsley not get punished for resurrecting a murderous zombie? Surely resurrecting a zombie alone is a punishable act! And what is the point of Agnes? Yes, she helps Wednesday with her invisibility but her obsession and persistence with Wednesday finds her an unnecessary and annoying addition. As an aside, the series is structured for the audience to support the outcasts, but from a ‘normie’ perspective, they generally cause a lot of trouble in an otherwise peaceful town, with attacks, murders and police encounters. The hostility towards outcasts is actually justified. The ending, which sees Wednesday and Uncle Fester set off north to find Enid and Aunt Ophelia being held captive by Grandmama, suggests there is more adventure to come. Overall, the series delivers another entertaining season and remains top of the fantasy genre. 8/10

Published by Mason Oldridge, 17 September 2025 We’re back in Colorado to continue following Jackie’s life with the Walter boys. Jackie returns from New York to resume living with the Walters and attempts to remain just friends with Alex and Cole, which proves to be harder than expected. The main storyline is, of course, the love triangle Jackie finds herself in with Alex and Cole. She resumes her relationship with Alex, though she continues to find herself drawn to and have a deeper connection with Cole. When Cole finds Jackie and Alex together, your heart breaks with his. The season ends with Jackie confessing her love for Cole as Alex overhears, therefore leaving things in a similar situation to last season’s finale, but here’s hoping the already-commissioned third season sees the Jackie and Cole relationship finally come to fruition. Elsewhere, George and Katherine face pressure when their local community opposes the ranch development headed by Will and Richard. This puts a strain on George and Will’s father-son relationship and Katherine is upset as her friends turn their back on her, though it is nice to see George and Katherine remain strong as a couple in the face of adversity. Cole becomes assistant coach for the Bighorns, though still struggles with no longer playing, in a continuation of his personal development towards becoming a better person. Noah LaLonde is the absolute standout star of the series, expertly portraying heartbreak and disappointment in the complex character in such a delicate and intimate manner. The way he helps Dylan is touching, but the scene in which Cole fails to score a practice goal is particularly heartbreaking. Alex takes up bronc riding as a new hobby. In the first season, he came across as childish and in this new season it appears he is going to be arrogant from his newfound popularity, which strains his friendship with Kiley, though as his disdain towards Jackie eases, he becomes more likeable. However, this subplot doesn’t consider the ethical implications of the sport. Danny and Erin build on their relationship, and while theirs also isn’t without drama, they ultimately make a nice couple. It is disappointing to see Nathan cheat on Skylar so easily when another boy expresses interest in him, but at least Nathan sees sense and Skylar keeps his dignity by not taking him back in the end. Additionally, Dylan and Kiley’s unexpected budding relationship makes for a nice touch as she brings out the best in him. It is also noteworthy that Grace remains an amazing and supportive friend to Jackie throughout and is a credit to the lesser cast.  This series perfectly delivers such warmth and emotion amid such a stunning backdrop as heart and setting beautifully collide to present such a heartwarming story. 9/10

Published by Mason Oldridge, 1 September 2025 Helen Mirren, Pierce Brosnan, Ben Kingsley and Celia Imrie lead the star-studded ensemble cast in this film adaptation of the first instalment in Richard Osman’s best-selling cosy crime novels. Four septuagenarians living in the luxurious Coopers Chase retirement village investigate cold cases until a live incident lands on their doorstep when the lavish estate’s owners are murdered. First of all, it is worth noting that the original book is a 10/10 and the film did a good job in securing some perfect casting choices to honour the characters by really embodying their spirit and personality. However, as is with most film adaptations of books, elements of the story are cut due to time restraints. Unfortunately, this film sacrificed some of the best parts of the novel, such as Bernard and the bench as well as the historic backstory surrounding Father Mackie. Furthermore, Bogdan is villainised despite his morally-compromised good guy role in the book series. It is undeniable that the plot works better as a book than a film as there is heavier reliance on the characters and the setting, which sees the murder mystery itself fall a little flat when translated to the screen. Like with the book, the film takes a heartwarming and delicate approach to portraying the elderly by showing both their competence and humour as well as the struggles and insecurities faced as a result of ageing, with a particular focus on Penny’s illness and Stephen’s dementia. The film also inhabits a great sense of British culture, with some light humour such as Ron doing water aerobics and Ibrahim being overtaken by a learner driver. Despite the lack of excitement and some omissions from the book, the film is still a nice ode to one of the greatest book series of the 21st century and the sequels deserve to be adapted in the same vein. 7/10

Published by Mason Oldridge, 25 August 2025 Bob Odenkirk returns as the under-the-radar assassin in this action sequel. Hutch is working missions to pay off his debt from the first film but takes a break for a family vacation. However, following a fight in an arcade, he finds himself embroiled in the criminal activity of the town, teaming up with corrupt amusement park owner Wyatt to take down sadistic crime boss Lendina. While the original has the iconic bus fight scene, this successor features an equally entertaining brawl in an arcade, utilising the equipment for an almost comical battering. Later on, the final battle at the amusement park is cleverly executed due to the Home Alone-style traps and truly cinematic thanks to its explosive finale at the hands of Hutch’s dad. Any caring father would have intervened at the arcade but it was unnecessary for Hutch to get further involved by rescuing Max, a situation that didn’t directly concern him and put his family in additional danger, all the more so when Max was the aggravator in the fight with Brady. Furthermore, Becca’s pleas for Hutch to avoid violence are unjustified as she married and had children with him knowing of his assassin background. Like its predecessor, Nobody 2 is a fun and fast-paced 90 minute thriller that succeeds in its simplicity. 8/10

Published by Mason Oldridge, 4 August 2025 There’s a new fisherman killer in town as this legacy sequel to the 1997 classic slasher movie introduces next-gen characters alongside returning Jennifer Love Hewitt and Freddie Prinze Jr. 28 years after the Southport murders, a new group of friends accidentally cause the death of a driver and, one year later, start receiving threatening messages and being targeted by a hook-wielding murderer. The film borrows heavily from the plot of the original, presenting the view that the massacre is being repeated almost three decades later and feeling like a remake as well as a sequel. It was a good idea to bring back the two survivors of the previous attacks to tie in with the first film, with the characters offering both advice and warnings. Unfortunately, the reveal of Stevie as the fisherman is so predictable. After all, she was never shown getting chased and was revealed to no longer be friends with the others from the start. Ray as her accomplice was less obvious, though this was only because he is a victim from the first instalment, otherwise this could have been foreseen too. Overall, the film is a decent slasher movie, albeit basic. 7/10

Published by Mason Oldridge, 1 August 2025 Almost three decades after the classic 90s sports comedy, Adam Sandler is back as the legendary golfer with anger issues. 29 years after winning his first Tour Championship, Gilmore is a widowed, alcoholic, single father-of-five working in a supermarket. He returns to professional golf to put his daughter through ballet school in Paris, while also out to save the sport itself from a new age rival. Sandler’s comedies have decreased in quality in recent years since his move to Netflix, so a sequel to one of his greatest hits could've gone either way. Luckily, it went the right way. The original has such an overwhelming cult following, with Happy Gilmore an icon of a character, and fortunately, this second instalment leans into that, with several references and throwbacks to the first. Despite this, it is worth mentioning that the plot works well on its own merit too. Furthermore, Sandler brings out the big guns for the cast list. Julie Bowen and Christopher McDonald return as Happy’s wife Virginia and original rival Shooter McGavin respectively, and of course Ben Stiller is back as the hilarious Hal L. The sons of deceased characters Chubbs, Mr Larson and the heckler all appear in a nice nod to the first film and regular collaborators Steve Buscemi, Rob Schneider, Nick Swardson and Jonathan Loughran also show up. There’s celebrity golfers including Rory McIlroy and Scottie Scheffler and an impressive roll call of cameos, notably Post Malone, Travis Kelce and Eminem. Additionally, including his real life family members makes for a nice touch. Delivering a sequel to one of the best films of all time is both a difficult and risky task to undertake, but Sandler smashes it, serving up a two-hour nostalgia fest with just enough original story to succeed. Happy Gilmore 2 is the feelgood movie of the summer. 9/10

Published by Mason Oldridge, 31 July 2025 Ryan Sampson and Danny Dyer are back as the polar opposite brothers in this second run of the Sky comedy. The second season primarily follows Glen and Lee’s pursuit for their estranged father after finding out he is alive. Elsewhere, Kirsty starts a new job, whilst dealing with her blackmailer. Once again, the plot outperforms the comedy, though this isn’t a bad thing as the story delves deeper and is much improved. The hunt for Don further explores the brothers’ troubled relationships with their parents and brings about the revelation that he had a second family and is not Glen’s biological father, but rather Uncle Ron is. Meanwhile, Kirsty’s bedroom persona allows her to exude confidence at work, which sees her become involved with a criminal family tied to the carpet shop, while her blackmailer situation is defused when it is revealed to be Ian, looking to raise funds for a gay cruise to explore his newfound homosexuality in a less serious comedic subplot. There are still some key comedy moments however. The highlight is Lee and Glen thinking their father is rich upon discovering the lavish estate that he is residing at, only to find out it is actually a care home where he is terminally ill, with Lee telling his new half-brothers that their father has died being particularly hilarious. Other funny moments come from more of Glen and Kirsty’s bedroom antics as well as innocent comments from Lee that contrast his usual expletive lines, such as suggesting Ian’s meetup isn’t into gingers or saying the beach was a nice spot before it was tarmaced. The series is again left open as Lee is threatened to give his share of his dad’s company to Bunny to keep Glen from knowing the truth and Glen lets Sue die during a confrontation. Also, Lee is angry that Glen kept their mother’s lighter from him and there is much potential to go down a new route with Kirsty’s involvement in crime. A renewal should be more likely this time around as the second season is subjectively better than the first. 7/10

Published by Mason Oldridge, 4 July 2025 Netflix’s biggest series comes to its highly-anticipated conclusion - but will the games be ended once and for all? Season 3 picks up where Season 2 left off, after the failed massacre. The remaining games are played out, while Jun-ho continues his mission to find the island and No-eul attempts to rescue Gyeong-seok. The final rounds are as exciting as ever with a predatory Hide and Seek, Jump Rope on a high bridge and a giant version of the Squid game. Player 222 giving birth throws a curveball and Min-so throwing the secretly empty necklace on the bridge is a clever move. Furthermore, the deaths of Players 007, 120, 149 and 222 are all sad but inevitable, though Geum-ja killing her son to save Jun-hee is unbelievable. Also, the VIPs are seen to be as evil as ever as they vote to enter the baby into the games whilst revelling in the deaths, though this prompts a broken Gi-hun to return to his badass savour role in which he crosses the bridge with the baby and subsequently cares for it after Jun-hee’s death. As an aside, the chilling juxtaposition between the deadly games and the colourful sets, joyful music and friendly voiceover is still comical. The ending produces a mixed reaction. The thrilling Sky Squid Game leaves audiences wondering how Gi-hun is going to survive this one, until, unpredictably, he doesn’t. His sacrifice for the baby matches his noble personality but sees all his pain and efforts have been in vain. As Jun-ho closes in on the island, In-ho sets the island to self-destruct and therefore the games do end, but the Front Man, the VIPs and all staff involved in the operations successfully evacuate and are never caught, leaving justice to go unserved. However, at least Jun-ho, No-eul, Gyeong-seok and Woo-seok get their happy endings. Finally, the tease of a recruiter in Los Angeles suggesting the games are played in America makes for an interesting closing scene. The conclusion is undeniably disappointing as one of television’s most epic heroes dies and some of television’s most sadistic villains go unpunished, but nevertheless, Season 3 is as grippingly entertaining as the first two and the South Korean show built on the simple yet genius idea of deadly versions of children’s games deserves to be Netflix’s most successful series. “Humans, not horses”. 9/10

Published by Mason Oldridge, 30 June 2025 Three years after going rogue, the killer robot doll is back and with an upgrade, this time on the side of good, saving the world! When AMELIA, an android used by the US Army and built upon M3GAN’s framework, becomes self-aware and goes on a rampage, Gemma is tasked with rebuilding M3GAN in a bid to stop the new enemy. Firstly, this sequel is completely different to the original. While the first took the form of a horror, 2.0 is more of a sci-fi action film and much more cinematic in comparison to its fun-without-the-flair predecessor. Additionally, this second instalment is much more complex in relation to the original’s brilliant yet simple storyline. Both are fantastic, just in different ways. Later, the twist revealing Christian as AMELIA’s true controller takes the film in a whole new direction as this means AMELIA is not the great villain we were first led to believe. This appears to have significantly reduced the threat, yet Gemma and team continue to battle as if the danger is the same, leading us to question how much Christian and his warning about AI takeover is the enemy as his message is arguably justifiable, while his actions are not. This culminates in an epic final battle between M3GAN and AMELIA, killing them both, though M3GAN is revealed to have backed herself up. However, Gemma and team’s defiance against Christian puts a lot of people in danger and Gemma abandoning her human team to save M3GAN is very unrealistic. Judging on its own merit, M3GAN 2.0 is an excellent movie and the best on the subject of AI. 8/10

Published by Mason Oldridge, 27 June 2025 We head down under to Australia for Netflix’s latest murder mystery. Kieran returns to his coastal hometown, 15 years after he survived a deadly storm that killed his brother and friend, when a young woman investigating a third death of a girl is found dead on the beach. The murder mystery itself is a good one, but unfortunately is told in a stale and slow manner. For example, the flashback at the start of episode 4 to Brian’s CPR class makes it clear he was trying to save Bronte, but it takes Kieran the whole episode to realise this himself. Only in episode 5 when the accusations about Finn and Toby’s involvement with Gabby arise does the drama pick up. Furthermore, the character of Kieran’s mother Verity is infuriating. She clearly blames Kieran for Finn’s death and treats him terribly, a truly horrible character. Meanwhile, Kieran’s father Brian is contrastingly kindhearted and praise goes to actor Damien Garvey for his sensitive and accurate portrayal of dementia. The reveal surrounding what really happened in the caves and who murdered Bronte provides a decent ending, allowing Kieran to move on and Trish to finally have closure. As an aside, The Caves would have been a more suitable name as, while the series does focus on the effects on the survivors, it is also about what happened in the caves and concludes with a return to them, making this alternative name more specific. Overall, the series delivers a strong mystery, but is largely hindered by its poor pacing and lack of action. 6/10

Published by Mason Oldridge, 18 June 2025 The intensity is turned up to a whole new level in this new season of the Netflix drama. The season primarily focuses on Georgia’s murder trial, following her arrest in the prior season finale for ending the life of Cynthia’s husband, in which she is dubbed the Mayoress Murderess. As with the previous season, the show is largely hindered by depressing elements. Between Ginny’s self-harm and broader mental health struggles, Marcus’ depression and Abby’s eating disorder, there are many difficult to watch scenes that weigh heavy - not for the first time, I considered switching off. Also providing a reason to quit while behind is the teen drama aspect. The students are seen to be very immature and dramatic and the series presents the idea that all teens skip class and smoke weed (drinking alcohol is taken more seriously than recreational drug taking!). Meanwhile, Max is called overdramatic for being upset over her friends alienating her when this is actually one of the few times one of the teens’ responses are valid!   However, any good series has its drama increase throughout seasons and Ginny & Georgia steps up to the plate. The consequences of Georgia’s actions are heavily felt as her past crimes come to light, her marriage to Paul fails and she loses custody of both children in harrowing yet impressively powerful scenes. As all hope is lost, a shock twist sees Ginny and Austin frame his villainous father Gil for the crime.  What we are ultimately left with is a triple murderer walking free and her children now further implicated, with Ginny worrying whether her mother can change and Georgia worrying her daughter is becoming like her, plus there’s people from Georgia’s past sniffing around and Georgia is teased to be pregnant. Once again, the unsung hero is Diesel La Torraca who delivers the most compelling performance as Austin, particularly when he has to face returning to school. The drama is well above par, but with the depressing and teen asides continuing to cast a dark shadow, the season can only achieve an average score on the whole. 7/10

Published by Mason Oldridge, 6 June 2025 Two sisters become embroiled in the world of the rich in this lavish new Netflix limited series. Devon is struggling to care for her father Bruce, who has been diagnosed with early-onset dementia, and travels to ask for help from her younger sister Simone, only to be disturbed by her close relationship with her boss Michaela. Billed as a dark comedy, Sirens is much more of a psychological thriller. Intriguing and compelling throughout, this series diverts expectations and changes direction constantly. It probably wouldn’t have succeeded as much without its interesting and entertaining selection of characters. Julianne Moore is terrifying as Michaela and Kevin Bacon is charming as Peter, while the pain and trauma of their upbringing is felt through Meghann Fahy and Milly Alcock as Devon and Simone respectively. Furthermore, Bill Camp conveys Bruce’s condition well and Felix Solis is both funny and likeable as Jose, worlds away from his diabolical cartel boss role in Ozark. Throughout the series, Michaela is presented as an evil mistress, a suspected cult leader and murderer who has brainwashed Simone into her way of life, and Devon is seen to be the only one aware of this who can rescue her from under this spell. Therefore, it is all the more shocking when Peter divorces Michaela, has her escorted off the property and begins a relationship with Simone out of leftfield. As Michaela quietly leaves on the ferry, it shows how she was never really a villain. In a chilling final scene, Simone smiles at her new position, having essentially replaced and betrayed the woman she practically worshipped, perhaps a statement on how wealth and status defines who is the villain rather than the individual themselves? Additionally, Devon turns down Morgan’s offer to go sailing in order to return to Buffalo with her father, despite teasing a happy ending for her. Sirens is a truly unique show like no other and is bound to keep viewers glued to their screens all along. 8/10

Published by Mason Oldridge, 28 May 2025 We head back to Shadyside for the first time since the original trilogy for a new slasher horror. First of all, it is important to understand how this instalment fits into the franchise. It is set in 1988, ten years after the Camp Nightwing massacre and six years before the Fier curse is broken. The film tells of one of the many Shadyside murder cases. Despite its ties to the franchise, it could be watched standalone and it features no supernatural elements. It is Senior Prom at Shadyside High School and there are six contenders for prom queen: five popular girls and Lori Granger, an outcast due to the rumour that her mother killed her father, until a masked figure begins brutally murdering them. Unfortunately, the plot is unoriginal and covers almost every slasher movie trope. The narrative is predictable and the killer reveal is unsurprising. However, the ending saves the film a little. There is the secondary reveal that Nancy was the accomplice and she murdered Lori’s father as he left her for Lori’s mother. Tiffany is also revealed to be involved. Lori triumphs over the Falconers, which sees her finally own her identity, proclaiming “I’m Lori fucking Granger”. Additionally, Nancy’s blood forming the Witch’s Mark is a nice nod to the Fier curse. Despite this, the basic simplicity of this instalment is disappointing, all the more so given the complex and epic story of the trilogy, which itself is a 10/10. Let’s hope the next films, currently in development, are more in line with the quality of the originals. 6/10

Published by Mason Oldridge, 20 May 2025 Jason Watkins and Robson Green go head-to-head in this new Channel 5 original drama. Newly retired detective Huw Miller is tormented by the case of the Ripton Stalker - a serial killer he was never able to catch. When his new neighbour across the street repairman Patrick Harbottle uses the killer’s catchphrase used to taunt Huw, he is convinced he has finally found his man. There seems to be one main question posed from the premise: is it him? And if so, isn’t that a little bit predictable and obvious? Well, it is heavily implied it is him before we learn that it is, but we also learn that the series is less about that and more about the game: the hunt for Huw and the chase for Patrick. Patrick likes to psychologically manipulate people and does so in framing Huw in which the residents believe Huw is guilty. However, as convincing as Patrick may be, it still seems a little far-fetched that, when dead bodies start piling up at the same time that a single new neighbour has moved in, they don’t suspect him over Huw. However, Patrick appears to have flown too close to the sun when he targets Huw as an encounter with his daughter results in him being exposed as the killer. In a tense showdown in Huw’s basement, Patrick stabs Huw as the police arrest him. The series delivers an open-ended conclusion as it is not revealed whether Huw survived the stabbing. This can be seen as poetic justice as Patrick claims that Huw would not survive five minutes without him, though ultimately Huw did deserve to live out his retirement happily after having made amends with his family. Jason Watkins is stellar as always and, along with Robson Green’s unsettling charm, this tense thriller is a nice quick watch. 7/10

Published by Mason Oldridge, 14 May 2025 Tina Fey creates, produces, writes and leads on this modern retelling of the 1981 film. A friendship group of three couples: Jack and Kate; Nick and Anne; Danny and Claude find their quarterly vacations (one in each season) rocked when Nick announces he is leaving Anne and finds himself a younger model. Ginny is presented as ‘the other woman’ and a midlife crisis for Nick, despite him claiming to be happier than ever. Nick’s decisions are disapproved of by the group, though this seems unfair as Anne is seen to be a boring and distant wife in spite of Nick’s best efforts and his relationship with Ginny sees him experience the excitement he craved and proves to be real love. Furthermore, the group are unhappy with Ginny’s tropical eco resort, even though the place is stunning and offers them a new experience. However, it is nice to see Steve Carrell in a more serious role and demonstrate his acting talent can go beyond comedy. There’s enough deviation from the original to justify a remake, though unfortunately, this 21st century adaptation touches on being woke. One of the couples is swapped out for an interracial same-sex pairing. Ginny’s sober and vegan friends can be excused as this serves the purpose of seeing Nick struggle to fit in, though Danny’s open relationship with Claude, engagement in a casual threesome and carefree approach to taking cocaine going relatively unmentioned is a little unsettling. While the premise sounds promising, the drama primarily stems from conflict within the couples, often arising over minor things that generally wouldn’t put a dent in long-term marriages, showing the characters to be oversensitive and not reflective of reality. However, Nick’s sudden death comes as a shock and the ending in which Ginny is revealed to be pregnant leaves it open for another season. There may be some comedic moments sprinkled in, notably Claude’s attempt to find out if Terry was a past lover, and it is easy-watching, but ultimately what we are left with is a show of middle-aged couples unnecessarily bickering. 6/10

Published by Mason Oldridge, 8 May 2025 After a controversial fourth season in London, we return to where it all began, New York City, as the story of Joe Goldberg comes full circle. Joe is living with wife Kate and son Henry, now in the spotlight as the husband of a CEO. Their marriage turns stale as Kate learns of his feelings towards killing and the extent of his actions, just as Joe has his head turned by his bookshop employee Bronte. The episodes are thrilling from the outset as Joe sets about dealing with those attempting to undermine Kate within the organisation, including her Uncle Bob and twin sisters Reagan and Maddie, all while trying to keep Bronte as nothing more than a fantasy for him. As with the previous season, there’s a shocking mid-season twist in that Bronte was catfishing him as part of a group attempting to avenge Beck’s death, something revealed as he is live-streamed murdering one of them! The next episode is compelling as Bronte recalls the backstory to the police and episode seven is fascinating as the truth circulates all across the internet and Joe gives an interview to defend himself, inadvertently breaking down for real over his childhood trauma. Joe and Bronte reunite but time is ticking as Kate works to bring him down. The finale sees Joe and a now-enlightened Bronte engage in a tense game of cat-and-mouse. There are some harrowing scenes too as Henry calls his father a monster, breaking him, and Joe begs Bronte to kill him as the police descend. Furthermore, there is the unexpected welcome return of Will Bettelheim as he helps Joe acquire fake IDs. The ending delivers in parts though disappoints in others. Joe is brought to justice for his crimes and the truth prevails. However, Bronte was set to be the one to do this, yet instead conducted a poorly executed plan that backfired. Additionally, Kate gets away with her crimes and keeps custody of Henry, who would have been better returned to Dante and Lansing. In the bleak final scene, an imprisoned Joe receives sexualised fan mail and states “maybe the problem isn’t me - maybe it’s you”, a stark commentary on the psychology behind violent fantasies. Gripping scenes and mind-blowing twists, along with Penn Badgley’s charming aura as always, sees the psychological thriller back on top form in what is possibly the best season. Goodbye, you. 9/10

Published by Mason Oldridge, 24 April 2025 Jill Halfpenny leads on the latest Channel 5 drama, focusing on a neighbourhood feud stemming from a kitchen extension. The premise may seem boring as a kitchen extension doesn’t exactly sound entertaining, though it is soon learnt that an affair is a major factor in the conflict. When Emma and John decide to extend their property, they start receiving dead magpies with threatening messages. However, they aren’t short of enemies: friends Sonia and Alan (John is having an affair with Sonia), elderly couple Derek and Barbara (who disapprove of the build as it could move their tree in memory of their missing son Marcus), self-proclaimed ornithologist and CCTV-obsessed busybody Nick, dodgy builder Lee, Emma’s criminal father Terry and police officer Andi (who was suspended as a result of Emma and so takes revenge using Emma’s angsty teen daughter Beth). Unfortunately, the pacing is incredibly slow and doesn’t justify being a six-part series as there appears to be a whole lot of nothing going on; it feels the majority of the viewing is looking out of windows and watching CCTV. However, the series does provide a satisfactory resolution as it is revealed Nick killed Alan in revenge for the birds. Emma seems more concerned with proving her husband’s innocence than finding her missing and likely in danger daughter, despite learning of his recent infidelity, which feels somewhat unrealistic, though still results in a heartwarming reunion. Furthermore, the young man interested in the house up for sale at the start of the series decides to move in and is revealed to be Marcus, offering Barbara, now free of her abusive husband, a happy ending, in what is a nice touch. On the whole, the plot is decent, though should have been told in a more concise timeframe. 6/10

Published by Mason Oldridge, 18 April 2025 The most mind-bending and thought-provoking anthology series on television is back with five new original stories and its first ever sequel. Common People, starring Chris O’Dowd and Rashida Jones, follows a woman who must subscribe to a service to remain alive after having a stroke and her husband who goes to desperate lengths to afford the rising costs. The episode serves as a stark commentary on streaming services’ evolving pricing tiers and is particularly clever in its reference to ad-based plans. Bête Noire follows an employee at a food company whose perception of reality begins to change when an old classmate from school joins the business. The unexplainable events lead to an impatience to discover the truth, though the reveal of alternate universes being used for revenge and bizarre conclusion are enjoyable. Hotel Reverie sees an A-list actor take part in an AI reboot of a classic 1940s film and subsequently become stuck in the virtual world, having to stick to the script to stay alive. Parallels can be drawn between Emma Corrin’s character Dorothy Chambers and real-life Judy Garland, while the black-and-white set pieces make for a visual masterpiece. Plaything sees an eccentric reviewer, masterfully portrayed by Peter Capaldi, recall his involvement in a murder and its link to a 1990s video game. While not the most compelling episode to watch, the unnerving performance of both versions of Cameron Walker and the shocking ending of the singularity event make for chilling viewing. Eulogy is an emotional episode in which a lonely man uses technology that allows him to step into old photographs to recall memories from them. As the episode progresses, we learn his version of events is only one side of the story and the guide is a digital avatar of his girlfriends’ illegitimate daughter, while the tear-jerking ending in which he discovers the letter and finally remembers her face deserves the utmost praise and retrospectively elevates the rest of the episode. In USS Callister: Into Infinity, the digital clones embark on a mission to survive, while in the real world, the extent of James Walton’s villainy is revealed. This sequel may feel somewhat unnecessary but is a truly cinematic instalment that serves as an epic season finale. With every episode featuring fictional technology, stories based around real-life tech like in prior seasons are missed. However, with more gripping tales and its trademark innovative endings that could only come from the complex mind of Charlie Brooker, Black Mirror remains as terrifyingly addictive as ever! 9/10

Published by Mason Oldridge, 9 April 2025 Argentina is the home of the first Latin America series to adapt a Harlan Coben novel as part of the ongoing Netflix deal. It follows Ema Garay, a journalist who exposes criminals in a feature called Caught, as she publicly shames Leo Mercer, a local who runs a kids club, as a child abuser, only to discover he may be innocent and have been framed. Elsewhere, teenager Martina goes missing. Caught is relatively generous with its story progression in comparison to other Coben adaptations. Despite the majority of the series following Ema’s investigation into finding the true culprit, Leo is murdered by Facu in episode two, Martina is revealed to be dead mid-series and we also learn of Fran Briguel’s involvement and Leo and Marcos’ childhood crime prior to the conclusion. Like most other Coben series, we are provided with a reveal and final twist. Both are satisfactory; the reveal that Marcos was the real perpetrator is interesting as it turned out his motive was money and land rather than sexual gratification and the final twist that Armando killed Martina is surprising as it was initially believed her death was linked to the older man she was talking to. Furthermore, the final minutes deliver an additional twist as Leo is revealed to have survived. Ema acts as more of a detective than a journalist and puts her life at risk from doing so, though it can be argued she goes above and beyond in an attempt to clear Leo’s name as she was the one who falsely accused him in the first place, which led to his supposed death. However, the side element of Ema’s husband having been killed in a hit-and-run by a drunk driver feels unrelated and unnecessary to the plot. Overall, Caught provides a strong story with enough development throughout to keep viewers engaged, something not every Coben series has been able to do. 7/10

Published by Mason Oldridge, 25 March 2025 There’s thrilling twists and turns in this fast-paced Channel 5 original drama. Zoe is struggling to adapt to her role as stepmum in the family with her husband Chris and his children Amber and Noah, especially as she lost her own child at birth as a teen and has desperately wanted her own since. The family hires French au pair Sandrine, though the young woman brings with her a sinister motive. Initially, the plot sounds similar to prior Channel 5 drama The Cuckoo as both feature a family who welcome a stranger with a secret agenda into their home, though it soon outperforms the former. The pacing is very rapid with many events happening per episode and progression occurring earlier than expected in places, so much so that it is surprising everything was fitted into the four-part miniseries, which makes for constant compelling viewing. When the family discovers that Sandrine is evil and she reveals that she is Zoe’s daughter, neither revelation was expected this early on and the remainder of the series cleverly takes a different path. Furthermore, George’s role in the adoption followed by Chris’ involvement in the true operation keeps the narrative in high gear and the drama continues until the final moments as Chris is arrested in front of his family. Sarah Bretton earns praise for her performance, particularly the scene in which her mother reveals that her baby didn’t die, as does Ludmilla Makowski for portraying both convincing malice (which draws comparison to Killing Eve’s Villanelle) and vulnerability. Without a lull, this miniseries is truly gripping and supersedes expectations from a Freeview production. 8/10

Published by Mason Oldridge, 17 March 2025 We head to Poland for the latest Netflix adaptation of a Harlan Coben novel. In this Polish-language miniseries, Greta’s life is turned upside down when she receives an old photograph and her husband goes missing. She then becomes entangled in a dangerous investigation looking for him as he is kidnapped and beaten by a merciless villain. One thing learnt from the other Netflix adaptations of Coben’s novels is that questions are posed throughout the series with the answers all coming at the end. Therefore, it is vital with these series to keep the episodes prior to the finale interesting too. Fortunately, Just One Look does this thanks to Greta’s self investigation running concurrent with the police’s, Kamila’s neighbour-watching, the menacing actions of the ruthless hitman and the hints to a link with the fire from 15 years ago. Despite this, it still doesn’t quite make for compelling viewing. The series runs it down to the wire to answer all the built-up questions and justice prevails as Greta obtains a recording from Sandra, though not before the shock twist that sees a rescued Jacek die in hospital following a reconciliation with his wife. Coben once again provides a solid mystery, though this is definitely one of the poorer instalments in the Netflix-Coben partnership. 6/10

Published by Mason Oldridge, 7 March 2025 Sky presents this new comedy-drama from Chris O’Dowd about a Northern Irish town with a history of alien visitations. The series provides a promising premise. Hollywood producer Wendy Patterson (Christina Hendricks) returns to her hometown of Drumbán for a production 25 years after she and her boyfriend Séamus Proctor (Paddy Considine in a very convincing Irish accent) were abducted and she admitted it while he denied it. Unfortunately, this interesting concept doesn’t deliver due to its incredibly slow pacing and not much more than what is offered in the synopsis actually happens! The first episode is primarily centred around the town’s committee convincing the film crew to choose them as the production location, which is as dull as it sounds. There is some slight progress in the third episode as Séamus, worried that his daughter Joanne has been taken when she goes missing on her 18th birthday, finally admits to the townsfolk what happened to him, only for Wendy to deny her involvement in a turn of revenge, leading to the residents mocking him. There is finally some worthwhile movement in the final episode as barmaid Shelley’s reclusive father teams up with Wendy and Séamus to save the doctor’s family when he realises his home is a centrepoint for the alien activity. The only upside to the snail speed development is that it is easy-watching, meaning the lulls aren’t too painful to get through. Séamus’ family drama can relate to the plot as it shows how his life has turned out as a result of his abduction, though the subplot of the disastrous film production stands out as being totally irrelevant as well as being the much less interesting part of the show. Credit where due though, the show boasts a strong cast, with Considine as the standout and much of the comedy arising from the locals. Much like the real life alien abduction stories, there’s plenty of excitement around the theme but ultimately a whole lot of nothing happening! 6/10

Published by Mason Oldridge, 22 January 2025 There’s more love and heartbreak as the teen romcom series continues on Netflix. Kitty enters her second semester of her scholarship at KISS, where Alex’s father Professor Lee is the new principal and Min-ho’s celebrity father Mr. Moon is a new investor launching a performing arts programme. We learn Kitty rejected Min-Ho on the plane and she is lusting after Yuri, who is in a relationship with Juliana, and the three of them are awkwardly sharing a dorm room, along with new student Stella, a devoutly religious girl who begins a relationship with Min-ho but is harbouring a dark secret. Elsewhere, Dae begins a relationship with his talent show rival Eunice and Q with his track rival Jin and Kitty continues to explore her mother’s history in Korea, discovering new family ties. Never has such a trail of unrequited love been so complicated, which somewhat culminates in the skiing trip episode as everyone finds out that Kitty and Yuri shared a kiss, Q has secretly invited Jin over and Kitty wrote a love letter for Yuri. The cabin fever theme boosts the episode as one of the strongest in the season as the enclosed space allows for heightened emotions as the secrets are discovered. Offering up some relief from the primary romance element is Kitty’s continued exploration into her mother’s history in Korea as she discovers her mother’s love interest Simon was actually her cousin and they were trying to reunite the family. Although less interesting than the other storylines, it nicely offers more variation to the series. Furthermore, a visit from Peter and a guest appearance from Margot provides a sweet link to the original film series too. With a satisfactory ending, XO, Kitty delivers on another successful season left open for a potential third, should it be recommissioned! 7/10

Published by Mason Oldridge, 16 January 2025 Netflix’s partnership with author Harlan Coben continues with this latest instalment. Kat Donovan is a detective inspector whose life is turned upside down when she finds her fiancé who disappeared without trace 11 years ago on a dating app, truths about her father who was murdered are discovered as his convicted killer is announced to be dying and a teenager approaches her to help find his missing mother. Missing You is in the vein of other Coben adaptations but frustrates as it creates questions throughout though doesn’t offer answers until the end, making the rest of the episodes irritatingly bland. Events happen but fail to provide a what or a why. However, explanations are provided in the final episode and allows us to piece together what really happened as the truth surrounding her missing fiancé, her murdered father and Titus’ criminal operations are all revealed. Interestingly, despite being horrified at discovering Josh is responsible for her father’s death, as they sit side by side on the bed in the final scene, she moves her finger over to meet Josh’s, suggesting she still loves him and is considering staying together. Credit due for such a shocking hint that deviates from the expected outcome. In conclusion, the series provides a decent mystery but when compared to some of the other Coben series, this one ultimately falls a little bit flat. 6/10

Published by Mason Oldridge, 10 January 2025 Get ready for more green tracksuits and pink jumpsuits as we head back to South Korea for the return of Netflix’s most-viewed series! The second season follows Gi-hun on his mission to confront the Front Man and stop the games once and for all, while Jun-ho and the crew search for the island. In the first episode, Gi-hun, hiding in an abandoned motel three years on, has hired his former loan shark and his team to locate the recruiter. This episode explores the mysterious character further but maintains the mystique as he destroys the bread in front of the homeless people in a psychotic rage, forces Mr Kim and Woo-seok to play a sinister game of rock, paper, scissors and challenges Gi-hun to Russian roulette, subsequently losing. His sadistic personality is captivating and chilling to watch as the first episode alone is truly gripping! As Gi-hun re-enters the games, he uses his prior knowledge to guide the new set of players through Red Light, Green Light, shouting verbal instructions, primarily “hold still” while covering his mouth to not be detected, in an epic scene. There are some interesting characters introduced in the new batch. Allies form around Gi-hun. Much of the comedy arises from egotistical rapper Thanos, who takes pills that result in his erratic behaviour. However, a shock twist sees the Front Man enter the games as player 001 and pretend to support Gi-hun, his true identity unbeknown to the protagonist. The format is changed this year as new games are introduced and players are given the chance to vote to stay or leave after each game. Seemingly a democratic process, the public voting system divides the camp into two opposing sides and is as compelling to watch as the deadly games themselves. Once again, credit is due for the contrast between the colourful set design and childlike music and the high stakes and gory results. In the final episode, Gi-hun and his allies take cover during the overnight onslaught before overpowering the guards and beginning their massacre in a fight to reach management. It is refreshing to see the good guys succeeding but the inevitable happens as the Front Man eventually returns to his side and forces Gi-hun to watch his friend die as a consequence of his uprising. The shootout is action-packed, unpredictable and most of all thrilling! The post-credits scene teases a giant robotic boy alongside the now-infamous girl as we eagerly await the third and final season to find out if Gi-hun can finally put a stop to the dystopian horror! 9/10

Published by Mason Oldridge, 3 January 2025 12 million viewers tuned in on Christmas Day to see if Smithy said “yes” to Nessa five years ago as the legendary sitcom wraps up after 17 years. The finale opens with preparations for Smithy’s wedding… to Sonia. We learn that Nessa’s proposal went unanswered after Gavin interrupted and it was never mentioned again. Elsewhere, Gavin and Stacey try out roleplaying and Gwen has a new mystery man. There are some funny comedy moments throughout the feature-length episode such as Smithy oversleeping for his stag events and resolving to have his arm broken as the only reasonable explanation to his fiancé, Pete’s dread over getting back together with Dawn, Bryn’s reaction to the reveal that Dave Coaches is Gwen’s new partner and how everyone who encouraged Gavin to speak up goes quiet when he eventually does so at the ceremony. However, there were less comedic moments as the priority for the finale was properly concluding the much-loved series, which it successfully does so. After an emotional scene in which growing audience members proclaim their disapproval of Smithy and Sonia’s wedding, Sonia angrily tells Smithy that he won’t find anyone better than her, to which he replies “I already did, 17 years ago in Leicester Square” in a truly tear-jerking moment. A race to Southampton Docks then pursues with the gang aboard Dave’s coach for Smithy to confess his love to Nessa before she sets sail on a cargo ship for work. Refusing to propose again, Smithy is the one who gets down on one knee this time as we fast-forward to the wedding we all wanted to see this Christmas. The episode ends with the group photographed together and the series has nicely wrapped everything up. Well, except for finding out what happened on the fishing trip, but I think we can allow for that! Focusing on two down-to-Earth families as their lives overlap thanks to the titular couple’s blossoming romance, Gavin & Stacey is one of the most successful sitcoms of all time and it is easy to see why its perfect finale drew overwhelming viewing figures. 10/10

Published by Mason Oldridge, 2 January 2025 After 14 years, everyone’s favourite cheese-loving inventor and his loyal canine companion are back for a new adventure, along with fiction’s greatest villain! The much-anticipated and long-awaited return sees Wallace invent a robotic garden gnome called Norbot, much to the disgruntlement of Gromit. However, things go awry when Feathers McGraw, the evil penguin from the 1993 special The Wrong Trousers, remotely hacks and manipulates the new invention from his cell, as we learn from a flashback that his punishment was imprisonment at a zoo. The storyline succeeds as the iconic duo race against time to stop Feathers and his army of robots from completing the mission they thwarted the first time: stealing the Blue Diamond. There is anticipation as we anxiously await the robot turning sinister, shock as we learn the valuable jewel was hidden by Feathers in Wallace’s teapot the whole time and action as the film culminates in a dangerous chase on an aqueduct. The comedy is strong too, most notably the hilarious way Norbot charges himself. There is also a genius nod to Feather’s chicken disguise from The Wrong Trousers as he once again dons the red rubber glove as headgear, which Wallace again falls for. Reece Shearsmith is brilliant voicing Norbot, while Peter Kay returns to bring his Boltonian tone to Chief Inspector Mackintosh, though it can’t be denied the strongest characters are the non-verbal ones. Also, credit is due for how the current and relevant concerns surrounding AI are addressed. Norbot may be handy and productive but lacks the personal element of human contribution which sees the gardening done in an efficient yet unsightly manner and allows him to be controlled by an evil handler.  Perhaps the greatest strength though is the impressive way thoughts and emotions are conveyed on the silent stop-motion characters. Examples of this included Feathers beaded with sweat as he attempts to access the computer whilst not waking the guard and his forlorn reaction to his failure as he rides off into Yorkshire. The second feature-length endeavour and sixth instalment overall, Vengeance Most Fowl is as strong as its predecessors, if not more so. Wallace & Gromit is a true British classic and deserves its critical acclaim that saw it crowned the second-most watched programme on Christmas Day and Audio Visual’s Film of 2024. 10/10

Published by Mason Oldridge, 20 December 2024 Ted Danson leads on this comedy-drama from The Good Place creator Michael Schur. Charles is a lonely widow who is encouraged by his daughter Emily to find a new project or hobby. He answers an ad from private investigator Julie, who is looking for someone to go undercover at a retirement home to investigate the disappearance of a resident’s necklace. Posing as a new arrival, Charles moves into Pacific View for 30 days, though starts to find himself enjoying his new social life and caring for his new neighbours, jeopardising the investigation. There is a delicate balance of comedy, warmth and sadness to make for a touching story. Much of the comedy arises from Charles’ excitement over being a spy and subsequently his lack of skill at being one, particularly when he discovers his first suspect Jan has died. The warmth comes from the relationships he establishes with the residents; Virginia and Florence help him settle in, he cares for Gladys and he strikes up a close friendship with Calbert. Elsewhere, there is a touch of sadness sprinkled in such as Charles still struggling with the loss of his wife, Florence’s passing, Gladys’ memory loss and eventual move to the memory care unit and coming to terms with declining health from ageing in general. However, there is one theme prevalent throughout which is dementia. Charles’ wife died from the disease but in the end it proves to be a more defining part of the show than initially believed as it is revealed Gladys is the thief, though unintentionally as a result of her confusion, cleverly highlighting the issue and how the illness can affect people. As Charles’ cover is blown, he faces backlash from Didi and the residents, upset at his deceit. There is a tear-jerking moment as he breaks down when clearing out his wife’s possessions with Emily but the show delivers on a happy ending as Charles visits Pacific View for Virginia and Elliot’s wedding with the residents appearing to have forgiven him. Furthermore, Julie enlists Charles for a new mission in the final scenes, linking to the already commissioned second season. If you’re looking for a short, feel-good, heartwarming series to watch, you won’t get better than this. 8/10

Published by Mason Oldridge, 10 December 2024 The jungle drums could be heard once again as a new batch of celebrities headed down under. The famous faces challenging themselves this year were Coronation Street star Alan Halsall, N-Dubz singer Tulisa, McFly star Danny Jones, boxing legend Barry McGuigan, Loose Women panellist Jane Moore, social media influencer GK Barry, Radio 1 DJ Dean McCullough, media personality Coleen Rooney, TV and radio presenter Melvin Odoom and professional dancer Oti Mabuse. This year’s camp was widely known as one of the best lineups, in part due to how everyone opened up early on and the lack of fallouts. It is seemingly an annual tradition for one to become the target for everyday trials and this time was no different as it was Dean heading down to the trial clearing each morning. Saying the infamous words early on, his performance each day slowly improved, though later on, he was criticised for not evenly contributing to the camp chores. Late arrivals Love Island star Maura Higgins and the Reverend Richard Coles entered the luxurious Junkyard camp, though had to convince the others that they were living in poverty to win everyone a buffet, which created some of the most hilarious moments in the series. There were emotional times such as Barry talking about his daughter’s death, Danny opening up about his anxiety and therapy and Oti comforting a struggling Melvin. There were budding friendships too as Danny and Barry adopted a father-son relationship, Oti and Melvin were like siblings and there was the unlikely companionship between Richard and GK. As always, there were funny and interesting conversations in camp too, such as Coleen discussing the Wagatha Christie trial and life in the Rooney household, Tulisa on her drug trial and Maura on the media’s twisted reporting of her personal life, though it was Richard who had the most bizarre stories! Ultimately, it was Danny who was deservingly crowned King of the Jungle. With more terrifying trials, madcap challenges, hilarious moments, plus some insightful and emotive ones, I’m a Celebrity continues to reign as the champion of British reality TV. 9/10

Published by Mason Oldridge, 9 December 2024 Britt Robertson and Chad Michael Murray take the helm in Netflix’s latest festive romcom. Ashley is living her dream as a Broadway dancer in a Christmas show, until one day she is replaced by a younger performer. This leads her back to her sleepy hometown Sycamore Creek, where her elderly parents run struggling venue The Rhythm Room. Upon discovering the $30k debt, she makes it her personal mission to raise the funds, doing so by using her expertise as a dancer to create an all-male revue. She enlists Luke, the resident handyman, and the two begin falling for each other. The blossoming romance between the two leads may be unoriginal and cheesy, but the plot revolving around saving her parents’ club gives it a nice layer of heart and warmth. Additionally, there are further feel-good moments such as Luke finding the new experience that pushes him out of his comfort zone ultimately brings him happiness and Ashley falling back in love with her hometown alongside the realisation that fulfilment comes from people rather than achieving aspirations. There isn’t really any comedy in the film but the plot is carried by the romance and showbiz elements anyway. The Merry Gentlemen is almost exactly as you would expect. Predictable but nonetheless heartwarming. 6/10

Published by Mason Oldridge, 18 November 2024 The latest in Netflix’s string of festive releases is a romantic take on Frosty the Snowman. Lacey Chabert stars as grieving widow Kathy, who places a red scarf on a snowman sculpture one night, only for him to magically come to life. Naked, he takes some overalls from a clothing shop, from which he is given the name Jack. As the town comes to love their friendly new resident, the sheriff is determined to catch the culprit for streaking and theft. As Jack struggles to adjust to human life, Kathy initially believes him to be insane and takes him to a doctor to be examined, in scenes unimpressively similar to Elf. Parallels can also be drawn in how Jack’s joyous personality improves the mood of those around him. However, this comparison fades as the women in town meet Jack and he adopts a hunky handyman persona more aligned with the gardener from Desperate Housewives. The plot is undeniably cheesy but, despite being basic and predictable, can still be enjoyed at face value as the chemistry feels real between the two leads. However, the comedy falls flat as the jokes aren’t funny and the sheriff’s attempts at appearing cool and important are rather cringeworthy. Hot Frosty is a sweet tale of love and kindness, though definitely more rom than com. 5/10

Published by Mason Oldridge, 15 November 2024 The North Carolina-set teen drama is back with a new mission… and back on top form. The Pogues’ new fortune allows them to set up a new home and business for themselves: Poguelandia 2.0, but, when JJ bets their last gold nugget on himself in a dirt bike race he ultimately loses, they cannot afford to pay their property tax and reluctantly accept the offer they were made at the end of last season to help locate Blackbeard’s treasure. They are hired by Wes Genrette, whose ancestor killed the legendary pirate and whose family have been cursed ever since, as he believes finding the treasure will break the curse. However, also on the same mission are ruthless mercenaries who will stop at nothing to find the goods first. After the relative disappointment of last season, Season 4 can be seen as a return to the quality of the first two. This season brings with it an epic new villain in Chandler Groff, Wes’ son-in-law. Groff inhabits a charm that masks his greed and deceitfulness, similar to that of Ward Cameron, making him an enthralling and entertaining baddie to watch. Following the season finale, we can assume he will appear as the main antagonist in next season too! There are many memorable moments but perhaps the most atmospheric is JJ’s rampage in an angry response to the outcome of the town council meeting. Perfectly set to Fontaine D.C.’s Starburster, the police struggle to cope with the public unrest in a truly haunting scene. The season finale is, once again, cinematic. An action-packed race amidst a sandstorm in Morocco culminates with JJ discovering the crown, though the victory is short-lived as Groff returns, steals the crown, and stabs JJ to death in revenge for leaving him in the well. JJ’s death is totally unforeseen though retrospectively explains why he took centre stage this season. A fifth and final season is on the way and, with a death among the main cast bound to change the tone and revenge on their mind, the final visit to OBX is set to be an exciting one. 8/10

Published by Mason Oldridge, 4 November 2024 The number one rule of time travel is don’t change the past, but this rule is ignored in Netflix’s new sci-fi film. In 2003, high school student Summer Fields is murdered by a serial killer as the final victim of a three-day rampage, the previous victims having been Summer’s friends. The town continued to be devastated by the horrors, though Summer’s parents eventually had another daughter: Lucy. In 2024, Lucy is unhappy as her life is defined by her sister’s murder, until she stumbles upon a time machine and travels back to 2003. Meeting physics prodigy Quinn, he initially warns Lucy of the dangers of altering the past, but she ultimately intervenes in the first night’s double murder. Shouting the security guard for help, he ends up being murdered too as Lucy’s attempt results in an additional casualty, cleverly highlighting how dangerous changing the past can be. However, as Lucy, Summer and Quinn grow close, they decide to prevent the next murders. They save Emmy which allows Summer to confess her love for her and finally Lucy and Quinn save Summer. They retrieve the fuel for the time machine so Lucy can return to her current life but, realising she won’t be born in the new timeline where Summer survives, she opts to stay in 2003 where she has a better quality of life with her sister and friends. It is refreshing to see a time travel film reject the norm and actually see the characters rewrite history for the greater good instead of focusing on preserving the original timeline. Finally, the film keeps the audience in suspense as to who the masked killer is before it is revealed to be Quinn from the future who committed the murders in retaliation after his classmates pranked him and Summer rejected him. This is not a particularly unpredictable reveal but also not disappointing. Overall, Time Cut is a decent sci-fi film. Although nothing groundbreaking, favouring editing the past is a nice deviation from the standard protocol. 6/10

Published by Mason Oldridge, 30 October 2024 The unlikely trio are back to solve another murder in the building… and this time it’s personal for Charles. Charles, Oliver and Mabel set about investigating the murder of Charles’ stunt double Sazz. Having been murdered in Charles’ apartment, it is unclear whether Charles or Sazz was the target. The investigation heads to the west side of the building, where we meet the eccentric ‘westies’ who are collectively harbouring a dark secret. Meanwhile, Paramount Pictures is developing their podcast into a film adaptation, with the group played by Eugene Levy, Zach Galifianakis and Eva Longoria, who star as fictionalised versions of themselves. The show has a tendency to have many guest stars appear in this form but these three are particularly enjoyable as they attempt to capture the true personalities of the podcasters they are portraying. Additionally, Paul Rudd appearing as Glen Stubbins, the Irish stunt double of Ben Glenroy, the character he played last season, is also hilarious. However, much of the comedy this season is rather slapstick, notably Charles’ facial expressions and Oliver’s theatrics, as well as the characters of Bev Melon and Charles’ sister Doreen. Nevertheless, the ending delivers on another satisfactory resolution to the investigation as it is revealed Sazz wrote the screenplay, but it was stolen by her former protege and wannabe writer Rex, who murdered her when she discovered the theft. The season ends with a mysterious woman arriving at The Arconia, asking for the trio’s help investigating the disappearance of her husband, said to have a major connection to the building. Furthermore, friendly doorman Lester is found dead in the fountain outside, setting up the premise of the fifth season. It is understandable that the murders all occur in the building to align with the title, but perhaps some out-of-the-box thinking is required now as it begs the question: what are the odds of five unconnected murders happening in the same apartment complex? The fourth season offers up another good murder-mystery but the extensive branch of new characters makes us miss the good old days of the three’s quiet investigations. 6/10

Published by Mason Oldridge, 23 October 2024 Sky’s new thriller series is darkly delightful. Overlooked wallflower Rhiannon Lewis doesn’t feel seen. She doesn’t dare speak up for herself, which her dad encourages her to do. Her sister lives abroad and leaves her on read, her love interest Craig tends to communicate with emojis and her boss is condescending and belittling. When her father dies, her childhood bully returns to town, her dog is killed in a road accident and she is denied a promotion at work, something in Rhiannon snaps. She is involved in an altercation with a drunken stranger and she stabs him to death in a psychotic rage, repeatedly shouting “do you see me now?!” in what is the first epic moment in the gripping series. From here on, she gets a taste for murder and sets about ridding the world of her enemies as some sort of twisted vigilante, gaining newfound confidence in the process. Ella Purnell is simply perfect in the lead role. She conveys both such a sweet vulnerability and a secret villainy that sees our sympathy turn to dislike. The plotline was destined for success itself but wouldn’t have maintained the same captivating essence without Purnell’s sinister duality. There is also a nice deviation from predictability as, following two murders committed in a similar vein, she breaks the format as she sets her sights on her next target Julia. Kidnapping her until she apologises for ruining her life, she learns Julia is a victim of domestic abuse from her husband Marcus. A further spanner is thrown in the works when Jeff witnesses her attempt to murder Marcus and, realising she is the serial killer, is hit by a bus following a chase. Rhiannon and Julia then devise an elaborate plan to frame Marcus, but Rhiannon pushes him to his death when he turns violent. As it appears Rhiannon has gotten away with it all and she is happy with her new life, viewers are left waiting until the very end to discover what and who will bring about her downfall. AJ realises the murder weapon is the same knife she had on his first day in the office and, as he tries to flee, Rhiannon stabs him to death. The series ends with Rhiannon embracing him in a pool of his own blood as her sister enters the house… a truly haunting ending! Sweetpea is chilling, compelling and highly addictive. 9/10

Published by Mason Oldridge, 15 October 2024 Netflix’s new romantic comedy series is a typical romcom with one key difference… the protagonist has fallen in love with a Jewish rabbi. Adam Brody as Noah is charming, smooth and an all-round nice guy juxtaposed with Kristen Bell as Joanne, who inhabits Bell’s usual character type of loud and outspoken yet well-meaning. It is likely Noah’s calm and collected charisma that led to an agnostic Joanne believing someone else was the Jewish rabbi at the party they met each other at, but he is indeed a more quiet and sensitive soul behind the confidence and opposites attract as the two develop their relationship. Meanwhile, Timothy Simons is hilarious as Noah’s brother Sasha, a kindhearted buffoon, who develops a friendship with Joanne’s free-spirited sister Morgan behind the back of his strict wife Esther. The show portrays Jewish culture and people in a highly negative light. Noah’s mother Bina is immediately dismissive and disapproving of Joanne simply for being a “shiksa” which is essentially religiously discriminatory behaviour. She attempts to end the relationship and outrightly states her intentions to Joanne, proving her to be interfering and troublemaking. Billed as an overprotective mother, she is actually putting her own wants above the happiness of her son. She openly admits her disgust at Joanne’s podcast topic, suggesting she is intolerant of anything against her own beliefs. Furthermore, the WAGs of the basketball team are all presented as mean and sanctimonious. Joanne is accepting of Noah’s Jewish community; it is disgraceful that they don’t share the same level of acceptance. Noah asks Joanne if she would consider converting to Judaism as a requirement for his job promotion, which she ultimately rejects when she learns of the responsibility. She breaks up with him as she won’t ask him to choose between his job and her, but he follows her. She asks him how this works, mirroring their quandary at the start of the series. He agrees that he can’t have both and kisses her, hinting that he is choosing her over the job. Despite the frustration with religious intolerance, the series is enjoyable and well-scripted. Here’s hoping the already commissioned second season will see love triumph over religious and personality differences, not just with Noah and Joanne but with Sasha and Morgan too! 8/10

Published by Mason Oldridge, 8 October 2024 There’s a stolen football trophy, a hungry crocodile, an insatiable ex and more death than ever before in the sixth season of the Lancashire-set comedy. It at first appears strange that the first episode is set three months after last season’s finale whereas the second episode jumps back to follow on, though it becomes apparent this was probably to highlight it as the funniest episode. It opens with the hilarious scene in which the gang catches Shirley performing a rather private activity in their weed farm. Later, the group travel to Ireland to Ash and Carol’s aunt and uncle, a sialoquent woman and her closed husband with a giant facial wart, providing further hilarity. The second episode picks up where the Season 5 finale left off. Manolito holds the gang at gunpoint before an accident results in him shooting himself in the head. Here comes the best line of the season when, looking down at the Italian criminal’s disfigured face, Ash remarks “he might not be dead”. As the group move to plant his body at his house, there are funny occurrences aplenty as they are forced to deal with an unwanted delivery man, housemaid and Manolito’s pet crocodile Lola, who begins to devour her newly deceased owner. Meanwhile, Erin and Carol embark on torching the getaway car from the robbery, but a series of mistakes sees them having to hilariously keep returning to the petrol station. JJ and Sugar get married in the finale, another truly comedic moment as the celebrant has facial tics causing him to gurn throughout the ceremony. However, the happiness is short-lived as a stranger turns up with news that Dylan has died in an accident. A heartbroken Vinnie sets about planning a funeral with his friends, based on plans he and Dylan made as teenagers, in a fitting end to the season. During the firework display, Davey has McCann murdered in prison and confirms this to Vinnie. Gone are the days of petty crimes, Vinnie is in the big leagues now and owes his life to Davey. The season ends with the group on a bus suspended over a cliff, mirroring the accident Vinnie and Dylan had as teens, a (literal) cliffhanger ready for the already commissioned seventh season. Brassic 6 offers up a nice sprinkling of comedic moments nicely balanced with the drama element of Davey, Manolito and McCann. 7/10

Published by Mason Oldridge, 26 September 2024 Kara Tointon, Will Mellor and Emmett J Scanlon lead on this standalone new series of Channel 5’s popular drama. The series opens with a class going on a school trip. Teachers Dani and Jimmy leave the pupils unattended to have sex, returning to find student Zac dead in the lake. Things escalate when it is revealed Zac didn’t drown but was murdered and a photo of Dani and Jimmy is posted online. Dani is informed by the police that she is criminally liable for Zac’s death as she was in charge of his safeguarding at the time. Instead of making the wise choice of keeping a low profile, she attempts to solve the case herself, questioning the other students and frequently visiting the school despite her suspension. For a short four-part series, the pacing is somewhat slow. Not much is revealed in the first three episodes; it is mainly the fallout and aftermath of Zac’s death and attempts to uncover the truth, as well as suspicious behaviour from some of the characters. There seems to be a lot of adults asking children questions and frustratingly getting no response. Nevertheless, these episodes are still easy to watch as viewers will likely want to follow the progress and discover the truth. The final episode doesn’t disappoint as discoveries and revelations lead to explanations. When Dani first discovers Sienna was pregnant by an adult, it shows the headmaster opening Sienna’s locker. This suggestion is a clever red herring as it would’ve made a good twist itself. Tointon portrays the caring nature of her character well whereas Mellor, whose roles can be hindered by him being a household name, delivers a strong performance as the unsuspecting villain. Overall, the series is an enjoyable quick-watch mystery with a satisfying twist that ties everything up neatly by its conclusion. 7/10

Published by Mason Oldridge, 23 September 2024 36 years on from the original film, Winona Ryder, Catherine O’Hara and Michael Keaton as the leading man himself are all back for this next gen sequel to the Tim Burton classic. This second instalment sees Lydia, now a mother and paranormal talk show host, forced back into the land of the afterlife in order to save her teenage daughter Astrid. They return to Winter River following the death of Charles, where social outcast Astrid meets a potential love interest in Jeremy. However, it turns out Jeremy is a ghost who murdered his parents and is actually plotting to take Astrid’s life to get his back. After he tricks her into visiting the afterlife with a ploy to see her deceased father, Lydia must face Beetlejuice once again, who still wants to marry her. Elsewhere, Delia passes away from a snakebite and enters the afterlife, looking for Charles. Beetlejuice, hiding from his soul-sucking ex-wife Delores, helps both Lydia save Astrid and Delia find Charles in exchange for a contract and assistance in finding and marrying Lydia. Fans of the original will be delighted at the returning cast members and the new ones are bound to please too. Jenna Ortega is perfect for the role of Astrid, having already established herself as a Scream Queen, while Justin Thereux and Willem Defoe also join the new additions. Furthermore, Danny DeVito has a bizarre blink-and-you’ll-miss-it cameo as an undead janitor. In comparison to its predecessor, the film feels a lot more polished and clean, while still keeping true to the spirit of the original. Once again a fantasy-comedy-horror mashup, both returning fans and new viewers are likely to be left satisfied with this new outing for the ghost with the most. 7/10

Published by Mason Oldridge, 20 September 2024 We say bonjour to Emily and the gang again for more romance, heartbreak and marketing! The new season starts shortly after where the previous season finished. As Camille and Sofia begin a relationship in Paris, so do Emily and Gabriel. However, it is clear that both Emily and Sofia are uncomfortable with how close Gabriel and Camille still are due to their past and their plans to co-parent their baby. Things reach boiling point when Gabriel abandons Emily when skiing to follow Camille and she breaks up with him. The second half of the season sees Emily attempt to move on from Gabriel by beginning a new relationship with Marcello, the Italian who rescued her on the slopes. Furthermore, there is a new villain in town as Sylvie’s stepdaughter Geneviève arrives from New York to stay and work in Paris and, originally shadowing Emily, shows an interest in Gabriel, falsely translating Gabriel’s argument with Emily to allow herself to get closer to him. Inappropriate behaviour in the workplace is tackled this season as Sylvie is approached by a newspaper planning to expose Louis’ abuse. Fallout from these revelations include losing the funding for her husband’s club and Mindy’s relationship with Louis’ son Nicholas as he attempts to take over the family company, though also results in Julien, who decided to take the job at JVMA, quitting and returning to Agence Grateau. The visuals are once again stunning as always. This time, we are treated to a Christmas episode in which Paris is transformed into a Winter wonderland. The decoration is truly stunning. Later on, Emily visits Marcello in Rome as a change in scenery presents us with some Italian wonders including the Colosseum and Trevi Fountain. There are less sweet moments this season though one that stands out is freshly-heartbroken Mindy’s impromptu performance of her song Beautiful Ruins. Ashley Park’s talent is too impressive to not showcase throughout the series. There is less comedy too but there are still some funny moments from Luc, particularly his excitement over Krakow when Emily pretends she is visiting and his disappointment when he discovers she has actually gone to Rome. The season ends at an interesting point as Emily begins her new life in Rome with Marcello following her appointment running the newly founded Italian office, while Gabriel, elated at finally getting his Michelin star but disappointed to not have shared the moment with Emily, asks Mindy where exactly in Rome she is. Will Emily return to Paris with Gabriel or is this the start of Emily in Rome? Either way, the fourth season delivers more romance from Emily, music from Mindy, sharp-tongued comments from Sylvie and comedy from Luc. 7/10

Published by Mason Oldridge, 12 September 2024 Netflix’s new murder-mystery thriller has some big names in its cast list but the latest novel adaptation from the streaming giant has its imperfections like the titular couple. The middle child of the wealthy Winbury family is getting married but things don’t go to plan as the maid of honour’s body washes up to shore on the morning of the wedding. The suspect list is a long one as there are secrets aplenty. Greer has a secret brother tied to the Turkish mafia. Tag has been having an affair with Merritt, who is pregnant by him. Amelia and Shooter have feelings for each other. Thomas is having an affair with Isabel. Despite all the motives and secretive behaviour, the series struggles with pacing as the investigation is a slow burn. Shooter is arrested earlier on in the series and the secrets gradually spill out but it isn’t until the last episode when things speed up as one arrest triggers a chain of others.   However, the secret which almost runs as a separate subplot is how Greer and Tag are publicised as ‘the perfect couple’ despite all the lies and deceit. It is an interesting aside how their personal life is marketed to the media this way for Greer’s book launch. Furthermore, following Tag’s drunken stagecrashing, the publicists work quickly to forge a narrative about Tag being an alcoholic and going to rehab, to which the family applaud Tag’s statement rehearsal. Although this may be some clever social commentary, the anti-capitalistic message that the wealthy are morally corrupt is a somewhat overused statement. Nevertheless, the ending doesn’t disappoint as we learn Abby drugged and drowned Merritt as the birth of her child would’ve delayed the release of her husband’s $2.5 million trust fund by eighteen years. Overall, the series ultimately delivers on a satisfactory conclusion, though be prepared to go into the series with some patience. 6/10

Published by Mason Oldridge, 9 September 2024 The Deliverance is essentially an African-American 21st century remake of The Exorcist, though unfortunately isn’t as fresh a take as you may have hoped. Somewhat based on the true story of the alleged paranormal activity of the Ammons haunting case, it follows abusive alcoholic mother Ebony who lives with her three children and her mother as supernatural events occur in the house. It turns out the demon-possessed previous tenant murdered her family and now Ebony’s children are possessed, in which an exorcism is performed to save them. The film undeniably fails at pacing. Almost the first hour of the film is primarily physical and verbal abuse, spoken in foul-mouthed urban slang that practically requires an English translation, all the while in a visually dark setting. Viewers are likely to be left wondering if anything explicitly haunting is going to happen. When something does finally happen, we discover the film fails at originality too. A reverend who identifies possession. A mother first in denial but then believes. A possessed child. Walking up the wall backwards. Uttering offensive insults. An exorcism carried out to free the child. Religious undertones. It is as if a possession movie checklist was followed and ticked off throughout the narrative. Also, the exorcism itself is so slapstick that suspension of disbelief is impossible. Furthermore, the plot reads better on paper than it does on screen, suggesting poor creative decisions and directorial choices are to blame. In conclusion, the film is severely weak on multiple levels and in no way an enjoyable watch. 3/10

Published by Mason Oldridge, 26 August 2024 Netflix’s new teen comedy film about four freshmen’s first week of high school lands just in time for the back to school season. Incoming feels like a Gen Z version of cult classic Superbad, albeit less funny, as it similarly follows unpopular highschoolers attempting to improve their social status by attending a cool party. Benj is infatuated with his sister’s best friend, Koosh attempts to live up to his older brother’s reputation, Eddie despises his mother’s new boyfriend and Connor is trying to shed his new height-based nickname Foetus. At the party, Benj makes good strides in attracting his crush Bailey, though later has to win her over when he succumbs to peer pressure and takes ketamine with other popular kids. Koosh uses his house’s surveillance to target a girl and forges an elaborate plan to fake getting locked in the spa with her. The scheme initially works until he dislocates his shoulder and has to come clean to get help. Meanwhile, Eddie and Connor don’t even get into the party as Koosh is only allowed one friend and instead steal Eddie’s mum’s boyfriends’ beloved car and inadvertently end up looking after a catatonic Katrina, the most popular girl at their school, after she mistakes them for her taxi. This proves to be a disaster filled night as Katrina binges junk food and has a toilet-related accident in the backseat, leading the horrified friends to clean up after her. In addition to all this, popular teacher Mr Studebaker attends the party, teaching the underage attendees alcohol-fuelled science lessons and ends up getting severely burned, having accidentally set himself on fire and getting electrocuted. There are undoubtedly funny moments throughout the film, notably the gross-out events in the Tesla and a red raw Mr Studebaker on the Monday morning, though on the whole it feels a little underwhelming. Despite this, if you can manage your expectations, Incoming is an easy-watching ninety-minuter. 6/10

Published by Mason Oldridge, 30 September 2023 One of Netflix’s biggest shows is back for its fourth and final run. The season introduces us to the new Cavendish College following the closure of Moordale, along with new students: trans couple Abbi and Roman and their deaf friend Aisha, a friendship group dubbed the Coven. The new college is extraordinarily liberal, with everyone being inclusive, environmentally-friendly and polite, with the Coven even having a gossip jar. It feels like this groundbreaking series that highlighted issues surrounding sexual liberation and body positivity has now conformed to being as woke as possible. As the final season, the main priority is to provide closure to the storylines of the existing characters. At the forefront of this is the love triangle between Otis, Maeve and Ruby. Otis and Meave are in a long-distance relationship with Maeve studying in the US while Ruby still has feelings for Otis. Despite being the focal storyline, the series concludes with Otis and Maeve broken up due to Maeve studying abroad. This seems ridiculous as the whole story arc focused on the duo developing a relationship, which now doesn’t come to fruition even though Maeve could simply study and be just as successful locally. Furthermore, Ruby’s feelings aren’t resolved either and, despite finding her new self, doesn’t get what she deserved. Another storyline left somewhat unresolved is Cal’s body dysmorphia, despite the fundraiser in aid of top surgery. However, many storylines did get a worthy resolution such as Otis’ competition for sex therapist against O, Jean’s postnatal depression and her sister’s acceptance of childhood abuse, Eric’s conflict with his church and subsequently Otis, Aimee’s blossoming relationship with Isaac, her artwork and moving on from her past assault, Adam’s turbulent relationship with his father, Jackson’s cancer scare leading to the truth surrounding his biological father and Viv’s relationship with her new coercive controlling boyfriend. Counteracting any shortcomings are some notably beautiful moments. The standout of the season is the funeral episode. There are high emotions as the community attend to support Maeve with both touching moments such as Mr. Hendrick’s rendition of With or Without You and hilarious moments such as the lads backing up over Colin’s foot while struggling to manoeuvre the coffin. Additionally, it is particularly joyous to see Adam grow in his new role working with horses and find both comfort with his dad and new hope with his co-worker. Despite the forced wokeism casting a dark cloud over the season, for the most part the season wraps up the journey rather satisfactory for a series that is simply revolutionary in changing attitudes towards sex, love and relationships. 6/10