Sunday, 4 October 2026

30 Days of Night (2007)

This was a film directed by David Slade and adapted from Steve Niles and Ben Templesmith's graphic novel - and it's a corker of a vampire tale which had passed me by until now. Seems like everyone else knew about it, however, as it is apparently one of the most eye-opening and stylised vampire films of the 2000s. I must do better tracking things down!

The opening scene of the film shows us a man standing in the snow, gazing across an icy landscape towards a dark and sinister-looking ship, appearing to be trapped in the ice. He turns around and walks slowly towards the isolated town of Barrow, Alaska (the most northerly town in the USA), where the townsfolk are preparing for - you guessed it - 30 days of night! The stranger, played by Ben Foster (Hell or High Water), arrives in town and systematically cuts Barrow off from the world! He burns all the town’s mobile phones, slaughters the local sled dogs, destroys the town's only helicopter and disables the power grid! He then heads for the town's café, tries to order a 'raw' burger, falls out with the waitress and gets himself thrown into the town's jail to cool off by the Sheriff (who we'll come to shortly), at whom he sneers "They're coming!"

Right - a bit of background - it's '30 days of night' because, actually, it happens every year up there and it's called the Polar Night. The sun sets and does not rise again for 30 days. In actual fact, the most famous location where this happens is Utqiaġvik (the setting that inspired 30 Days of Night), the northernmost city in the USA. The sun sets in mid-November and does not rise again until late January. It is not completely pitch black - while the sun never breaches the horizon, Utqiaġvik experiences several hours of twilight around midday before returning to complete darkness. However, in late December around the winter solstice, even that twilight shrinks to just a brief window.

Anyway, leaving the science lesson (and opportunity for this tale) behind, most residents leave, but Sheriff Eben Oleson, played by Josh Hartnett (Black Hawk Down), stays behind - referenced above, in action in the café! He's previously fallen out with his wife (of course he has - he's a cop - in a film), though we're not really sure why! So Stella, played by Melissa George (Triangle), has left him and has been living separately away from the town anyway. She's heading off to the airport for the last flight out, like many others. She's a State Fire Marshal and was visiting the town from her base in Anchorage, by chance, for work purposes. Anyway, she missed the flight - so is stuck there!

Once complete darkness falls, a clan of feral, ancient vampires - led by the cold and calculating Marlow, played by Danny Huston (Frankenstein, The Professor, The Dead Don't Hurt) - invades the town. Unlike traditional romantic, cool vampires, these creatures act like nasty predators, communicating in an unrecognisable language which involves 'clicking' and screeching a lot! They proceed to slaughter any of the townsfolk they can find, totally indiscriminately!

Eben, Stella, Eben's younger brother Jake, and a small group of survivors hide in a boarded-up attic, keeping quiet with lights dim to avoid being attacked and having their blood drained. They can see people outside from their peepholes running into the vampires and what they do to them. Days pass slowly. The vampires use horrifying psychological tactics, including leaving a wounded, crying girl in the middle of the street as bait to draw out any remaining humans!

As the weeks drag on, the survivors are forced to move around town for supplies, losing members who aren't quick or sharp-witted enough to avoid being nabbed along the way! Unlike the Eli Roth films I've been recently reporting on, the gore is subtly presented. Often off-camera and much more left to the imagination than in Roth's comedy-horror gore-fests! The after-effect is usually the more impactful here, with bloody scenes left after a neck-gnawing or three! There are some nasty scenes shown, but yes, all more subtly. The film heavily prioritised makeup and prosthetics over CGI. The gore, severed limbs, dark black vampire eyes and jagged teeth were apparently all physical appliances worn by the actors.

So at this point, it turns into something of a survival story with the remaining people - fewer than a dozen - hiding out, finding food and supplies whilst not being spotted, and the tension and suspense are often well done. Not quite edge-of-the-seat stuff, but certainly thrilling and chilling for the viewer! We head towards the finale of course, which is bombastic and which I won't spoil for you as to who, if anyone, survives!

It seems that the vampires chose this town because of there being no risk of sun to frazzle their skin while they feast for a month, but why this hasn't happened in previous years which had the same conditions, I'm not sure - nor is that explained. Maybe it has something to do with the stranger coming off that ship at the start.

The film was actually shot in New Zealand, as Alaska would have been too cold, where the production crew built a complete, snow-covered replica of Barrow at Auckland Film Studios, alongside outdoor sets in the Waitākere Ranges and snow scenes at the Waiorau Snow Farm in Wanaka (South Island). Sam Raimi produced the film but handed the directorial reins to David Slade (Hard Candy), though much of Raimi’s style shows through.

Danny Huston is scary in his makeup, beautifully portraying the leader of the vampires; Josh Hartnett is solid in the lead; Ben Foster as the stranger is gripping and somewhat terrifying - made very much so by camera angles and lighting, which, incidentally, were impactful throughout; and Melissa George almost steals the show, acting very well in the leading lady role. It's a cracking thriller, highly recommended and now all over streaming services in the UK.

Saturday, 3 October 2026

Motorola Signature with Android 17


It's arrived! Beginning of October 2026, so having heard of those in other regions getting it in the last few weeks, I can now dive in and have a look at the differences. It was a fairly sizeable download at nearly 6GB, but with today's connectivity, generally, that's not a big problem - and it installed quickly enough. Reboot, done!

First up is September Google Security Patches, so that's good. Yeah, OK, it's October now, but in its first week we don't even get Pixel updates these days! So September is just fine. The Play System Update was already on September, but as you will know if you're reading this, Google is in charge of that, not the OEMs.

Talking of which, it's useful to separate what's Google's doing (and available to any OEM pushing Android 17 out) and what's Moto's in-house own doing.

The Battery Pill Dilemma
First, the Battery Pill. This one sits at the core platform level, standardising the 'pill' container for battery status and percentage readout. It was the one I was fearing - the Pill sitting behind the percentage number in the Status Bar being too small. Like it is with the Fairphone 6+ for example (even before Android 17), Samsung (until they released a Good Lock module feature to hide the pill completely) and Nothing Phone too initially (after much complaining they did make it a bit bigger, but still no way to remove it) - the list goes on. So Google, with base Android, needlessly copying Apple and screwing it up. Strangely the Pixel itself, although having a pill, kept it big - so no complaints there.

Moto has followed Pixel on this for the Status Bar - hurrah for Moto! But sadly, they haven't done the same on the Always on Display - boo! It's tiny and virtually illegible. Looks like the Fairphone one, in fact. Still, the Status Bar one is more important, at least for me, so I'll give them a pass on the AoD for now. 
I will give them feedback and hopefully, that will be fixed in a future update.

Upgrading to Android 17 on Motorola’s flagship hardware brings a real mix of core Android platform refinements and custom HelloUI features. Here is a list of what I'm finding as actually new, noticeable and worth having a look at.

Base Android Foundations (Inherited from Google)

Resizable Quick Settings Tiles
This is the most immediate visual change when pulling down the notification shade. When editing your Quick Settings grid, just like on a Pixel, you can now drag resize handles on individual toggles to switch them between compact 1x1 circular icons and 2x1 double-wide pills. This lets you double the density of available controls on a single view. There's no switching of orientation yet, like there is on other implementations from various OEMs, but that's bolt-on stuff by them, not core Android. Anyway, it's nice to be able to move stuff around up there and resize the tiles now.

Single-Tap Quick Settings Toggles
Google has finally restored single-tap toggling in base Android 17. Instead of forcing a pop-up sub-menu every time you touch the Bluetooth or Wi-Fi tile, a single tap on the tile icon now instantly switches the connection on or off. Long-pressing (or tapping the tile label) still opens the full device management panel when you need to switch networks or pair new earbuds. A handy feature that allows for quicker execution of tasks and less rooting around.

Independent Voice Assistant Volume
Android 17 natively splits voice assistant audio from general media playback. When you hit the physical volume rocker and tap the expanded panel, you now get a dedicated Assistant volume slider to keep voice responses at a comfortable level without altering your music or podcast volume. This is very useful as so many times I've needed to up the volume of the digital assistant's voice but found it hard to track down. All or nothing, it seemed - or try to get the assistent to do it - which never seemed to work very well!

Native Screen Recording Reactions
The built-in system screen recorder toolbar now includes a direct selfie-cam overlay option. This allows you to record real-time commentary and screen actions simultaneously without needing third-party capture apps or complex setups.

Unified Photo & Contact Pickers
A major system-level privacy upgrade. When an app requests to attach a photo or a contact, Android 17 opens a secure system pop-up that feeds only that specific selection to the app - eliminating the need to grant full read/write access to your entire storage library or address book.

Under-the-Hood Motion Smoothness (MessageQueue)
A core AOSP platform rewrite that eliminates micro-stutters. By refactoring thread handling under the hood, high-refresh-rate gesture navigation, app switching and dragging floating elements feel noticeably crisp and consistent. So that's the stuff from Google, baked into Android 17 - now for the goodies from Moto themselves.

Motorola's Custom Layer (HelloUI Additions)

Moto AI (Qira Suite)
Motorola’s signature AI software suite operating alongside Gemini. It was MotoAI until now, now changed to QiraAI and unified across Motorola and Lenovo devices. I've done another blog post detailing more on this - so click through to my Motorola Razr 70 Ultra and Moto Sound Flow Speakers piece for more.

Catch Me Up
 is accessible via a quick power-button gesture. Qira condenses stacks of unread notifications into a concise bullet-point summary. This seems to have taken off properly now. Under MotoAI, I hardly ever saw anything in these summaries, but now, it's meaningful, drill-down and somthing that I might actually use - depending on how cute you are on seeing notifications anyway! I can see that it would be useful for people who disappear into meetings for hours or got to the cinema, dinner parties or sporting events. When all's done, fire it up and get a summary of what you missed.

Pay Attention Performs real-time audio transcription and summaries for live conversations, meetings or voice memos on the fly. This works well and once recorded, transcribed and summarised, it can be 'shared' wherever you like via the base Android Share Menu system. It's all on-device so no limits on how much you can use it - only the phone's memory capacity. Looks nice and works well. In fact, the makeover Qira brings is significant and much nicer than MotoAI's. Very 'purple' too!

Hands-Free Voice Commands Direct "Hey Qira" hotword activation baked straight into the system for hands-free queries, but which you can use via the Qira Key on the side of the phone or assign to the power button, the button on the screen (if you allow it) or any other number of ways. It also has a nice British voice for us in Blighty! In testing here, the voice command works well, but only if there's no lock screen - or rather the device is locked. There is face unlock or fingerprint scanner to get in, but I don't see a way of bypassing that when the device is secure.

Depth Effect Wallpapers
Moto’s local 'spatial parsing engine' for the lock screen. It automatically separates the subject of your wallpaper from the background, letting lock screen clock digits and widgets layer seamlessly behind photos for a 3D depth effect. We've seen this broadly now from other OEMs and people seem to like the effect. It is smart and when playing with the options it is engaging with a bit of a 'wow' factor! There are options as to what pictures which can be used but also limitations - it won't work properly unless the image 'lends' itself to the theme/scene. Have a play around and see if it's of any use, or ultimately a bit of a gimmick.

Haptic Recalibration
Motorola fine-tuned the haptic motor profiles for flagship hardware, delivering sharper, higher-intensity vibration feedback across navigation gestures, typing, and lock screen shortcuts.

I'm still digging around looking for more changes and will update this post here if I find more significant ones. It's a nice coat of paint, I think. Motorola have adopted Android 17 well, from what I see so far, and with the added new-look HelloUI and QiraAI-from-MotoAI, added plenty of interesting options of their own. And yet - it still retains and feels very much like it's not too far from AOSP and Pixel. So kudos to Moto for moving along with the times but not bombarding happy users with lots of changes at once. Now, if they would only fix the battery pill on the AoD, I'd be happy!

Thanksgiving (2023)

After my Ice Cream Man review the other day, I thought I'd try another of Eli Roth’s madcap gore-fest outings and landed on this one! So yes, it is in a similar 'slasher' style, which gives the audience plenty of graphic, over-the-top practical gore and dark humour!

On Thanksgiving night in Plymouth, Massachusetts, America, a Black Friday riot at the RightMart superstore turns deadly when an eager crowd breaks in early. In the chaos, several people - including a store security guard and a shopper - are brutally trampled and dismembered, leaving little to the imagination! The store is owned by Thomas Wright, whose teen daughter Jess and her friends allowed early entry through a side door, directly inciting the stampede.

We unceremoniously jump forward a year, as the town prepares for its next Thanksgiving celebration. But this one's different, as a masked killer wearing a John Carver (one of the original 'pilgrims') mask begins brutally targeting everyone connected to the deadly store riot from the previous year. The killer posts social media photos of a Thanksgiving table tagged with the victims' names.

You know what's coming - one by one they get picked off and killed in grisly and gory, but very inventive and funny ways, much like in Ice Cream Man! People are sliced in half, decapitated, impaled, ripped apart, and so on! Most of which is really funny and, again, the tongue is firmly in cheek with all of this!

The identity of the killer is hidden from the audience until the final act, so viewers can try and work out who it is as the story unfolds through each of the characters. It's not that difficult, really, even if the clues are a bit fuzzy and Eli tries to put us off the scent by making everyone a likely nut! As we get to the final act with the big reveal, turns are twisted and twists are turned as the gore-fest comes to an end. En route to that, we can enjoy even more gory ways in which people can be killed - and in one case, basted, stuffed and roasted alive for carving on the killer's Thanksgiving table! A spin on the microwave incident in Ice Cream Man, I guess!

The acting is fairly second-rate to be honest, and production values are much like Ice Cream Man - money spent on the hilarious and rampant gore more than anything else. Patrick Dempsey (Dexter: Original Sin, Outbreak) as the sheriff and Nell Verlaque as Jess in the lead were probably the best on offer, whilst most others came across more like higher-rate extras. The film sits between a slasher and a piss-take of American holidays, ending up as riotous fun and entertainment - an absolute bloodbath, driven by bonkers filmmaking and a fruit-loop villain!

Some backend research revealed that Thanksgiving took 16 years to reach cinemas - it originally debuted as a fake trailer in Quentin Tarantino and Robert Rodriguez’s 2007 double-feature Grindhouse - and Roth spent years figuring out how to construct a coherent feature script around the trailer’s most famous absurd gags. Anyway, great fun and highly recommended with a few beers with mates on a Friday night! Looks like there's a sequel, imaginatively named Thanksgiving 2 in pre-production as I write. No doubt more of the same!

Thursday, 1 October 2026

PodHubUK Podcasts for the Month of September 2026

       

...a roundup of our month of podcasting. Links to the team, communities and podcast homes on the net at the foot, so scroll down!

Whatever Works
Episode 246 - Queen-sized Ice Slippers!
Wednesday 2nd September
Aidan and I are back for another round this week with the quest for a bed, some sleep, some rain, somewhere to eat, a lesson in pronouncing Hygrometer, a little eye-wash, fire extinguishers that don't burn, motorcyclists who don't get wet, feet that stay cool (or hot) and the age old question regarding whether toilet seats/lids should be left up or down (particularly after tasting the Salmon family's sultana scones)! So yes, in other words, another hour of twaddle which you're welcome to join us for!

The PSC Photography Podcast
Thursday 3rd September
We're back after our summer break and trying the whole YouTube video thing again, so options for both as we continue with the audio-only one as well. This time, Charlie leads us through his thoughts on improvement as a photographer, we look at various photos from the panel and listeners/viewers, take in some new and rumours then lastly check out Chris' PSC Photo of the Month (taken with a phone) in the shape of Minimalist Meander, from an Apple iPhone 13 Mini. Loads more, so do jump in for a listen (or watch)! Links at phonesshowchat.uk

The Phones Show Chat Podcast
Episode 908 - Folds Find Focus!
Monday 7th September
Joe and I are joined by Godfrey Lisk who tells us which phones he uses on a daily basis - and how each one gets a look-in - and why the Apple one's in a drawer! We have news from Moto, TCL, Sony, Honor and more - and we wonder if/when Google can emulate Apple's Handoff across all of Android. App Wrap gets a shout too - lots to enjoy, so why not join us!

The Phones Show Chat Podcast
Monday 14th September
Ed Hause joins Joe and I this week for his first time on PSC since Covid gripped us, we reckon! Really interesting chat about health issues related to screen tech and why he's using a very old Poco still. Unihertz is in the frame, we trap a Rabbit, touch on Xperia photography and the Razr 70 Ultra but mostly, as one might expect, Joe leads us through the stuff that happened last week in the Apple event. Loads to chat about as always, so do drop in and join us, now available in the usual places.

Projector Room
Episode 218 - Mayday at Cape Fear
Wednesday 16th September

Gareth and I are back again with another bumper crop of stuff from film, cinema and TV. And it's our 10th Anniversary this week! 10 Years of Projector Room Podcasts! So nods to Steve and Allan for contributions. Anyway, this time we choose Paint Drying over Mother's Pride, put Triangle In the Line of Fire, fire Human Vapour at Victoria and put Pressure on The Runner. There's a Cape Fear special roundup and time as always for what's Coming Soon and The Final Curtain.

Phones Show Chat
Monday 21st September
Joe and I are joined by Malcolm Bryant this week for more nerdy deep-diving and what an interesting chat it was, as it always is when he joins us. He fell into the Passport Craze and is loving it! Vibe-Coding turns out to be a very interesting topic, as well as a revisit to Death to Bloat! The Apps are all Reader stuff and we look forward (now) to Motorola's Signature release tomorrow with a peek at what might be coming.

Whatever Works
Episode 247 - Blinking Ballcocks!
Wednesday 23rd September
Aidan and I are back again with an other hour of stuff that amuses. Well, it does us, anyway! So if you fancy hanging about with a pair of old scrubbers while we measure the length of our pipettes, pluck our podules, fiddle with our Filofaxes, and visit Thingiverse to buy some joy, you know where we are! Now available in the usual places

PSC Photography
Thursday 24th September
I'm joined this time by Ian and Charlie along with special guest Steve as we deep dive into the new iPhone's claims and usefulness of variable aperture, with a nod to other historic attempts. We take comments from listeners/viewers, consider the new so-called 'budget' Nikon, Xiaomi 18 Pro/Max, catch up with Ian's recent photos and some submitted by the listeners/viewers. Time too for Photo of The Month for August and a chat about the way forward with this very podcast. There's a video version too again - follow the link.

Phones Show Chat
Monday 28th September
Steve Nutt joins Joe and I as we catch up on Accessability across many devices, pose some fresh questions after the last show about Vibe-Coding, consider digital note-takers/processors, get Jim Fowl's impressions on the Titan Elite 2, drool over Moto's upcoming Fold Wide and report on SnapDragon's Summit and new chipset. I polish off my Razr 70 Ultra coverage along with the fab Moto Sound Flow Speakers and Joe has the Magic V6 in-hand for a first look. Loads more as always, rounded up by Steve Nutt analysing Steve's tricky-to-describe village cricket scene! Available now from all the usual places, so do join us!

Projector Room
Episode 219 - Last Seen on Oak Street
Wednesday 30th September

Gareth and I are back with thoughts on Resident Evil (2026), Child's Play (1988), Unabomber (2026), Connection (2024), Last Seen (2026), Judgement Night (1993), Trespass (1992), Escape from New York (1981), Die Hard (1988), Warriors (1979), Assault on Precinct 13 (1976), Before Sunrise (1995), Lost in Translation (2003), Ice Cream Man (2026), Evil Dead Burn (2026), The End of Oak Street (2026) and in Coming soon, Werwulf (2026), Treasure Island (2026), Other Mommy (2026), Beware Boiúna (2026), Crawlers (2026) and Don't Move (2026). In The Final Curtain is Stephanie Cole, Richard Harrison and Gerrit Graham. Available from the usual places.


The Podcasts
Phones Show Chat (PSC) - Whatever Works - Projector Room - Tech Addicts - PSC Photography

The MeWe Community Groups (follow the links to join up)

Tuesday, 29 September 2026

Frankenstein (2015)

This is Bernard Rose’s adaptation of Mary Shelley’s classic horror story, not to be confused with Paul McGuigan's Victor Frankenstein of the same year. That was a historic drama, not much like this modernisation - a contemporary indie bio-thriller set in Los Angeles.

Married research scientists Victor Frankenstein (Danny Huston) and Elizabeth Frankenstein (Carrie-Anne Moss) succeed in artificially creating a fully formed human adult male using advanced 3D tissue printing and stem-cell technologies. The monster is played by Xavier Samuel, and his character initially functions like a newborn infant trapped inside a man's fully grown body. Elizabeth develops an immediate maternal connection to it, teaching it basic speech and motor skills.

However, its cellular composition quickly destabilises, and grotesque tumours and facial disfigurement break out across its body, causing violent seizures. Viewing their creation as a failed bio-tech experiment, Victor and Elizabeth decide to euthanise it by lethal injection. However, it survives the procedure, panics, and violently escapes the research facility into the streets of Los Angeles.

Unfamiliar with human society, unable to speak fluently, and suffering from those physical deformities, it wanders LA as a homeless outcast. It experiences the cruelties of modern urban life, encountering police brutality, public revulsion and exploitation. The monster forms a brief, tender friendship with a little girl by a pool - a direct homage to the iconic scene in Universal's 1931 Frankenstein - though here, violence to the girl is avoided.

Later, it is befriended by a dog - and more importantly for the original story - Eddie (Tony Todd), a street musician with no sight. Because Eddie cannot see the disfigurement, he treats the monster with genuine warmth and empathy, teaching it to play the blues and share meals. This all comes to an end, however, when police officers' harassment escalates into violence and one of them shoots the dog, prompting the monster to fly into a rage, killing the police officers.

Eddie tries hard to allow our monster to learn what life is about, having worked out that his new friend is certainly different: childlike and with no life experience. He can't quite work it out, but in one scene we learn that Eddie knows what a straitjacket is, as he helps our monster out of the one that the police had earlier put it into. Eddie's approach, as per the original story, is all but unconditional. He even tries to hook the monster up with a sex worker, which doesn't go quite as planned. Eventually, after much (mis)adventure and incident, it tracks down Elizabeth and Victor and we have our grand finale, which I won't spoil for you.

Xavier Samuel carries the film almost entirely without speaking, his character learning a few words as he spends more time with Eddie and others. By the time we get to the final scenes, he is able to string together a few words to make himself understood. It reminded me very much of the Robert De Niro depiction in Mary Shelley's Frankenstein (1994) in this respect, and he carries the transition well as he evolves from toddler-like, unsteady movements to enraged but powerful limping. It is noted that it has the strength of ten men.

Usually in these adaptations, the emotional core revolves around a father figure, but here it's twisted into more of a maternal one with the mother/child bonding between Elizabeth and the monster, which is an interesting diversion. Tony Todd (Candyman, The Rock) delivers a great performance as Eddie (serving as that modern replacement for the blind hermit in Shelley’s novel).

Bernard Rose apparently shot the film on digital video with handheld cameras, relying heavily on natural lighting in urban LA, giving the sci-fi story a realistic, documentary-style grit. It does come across as a fairly low-budget outing, but those involved all do well and play their parts convincingly. The first 20 minutes or so drag a bit - at one point it feels like we're going to spend the whole film in the lab - thank goodness the monster escaped!

It's not the best adaptation out there, but worth a look if you get the chance. It's a bit elusive just now on UK streaming services, but a used DVD can be tracked down on Amazon, I found, for the price of a large coffee.

Monday, 28 September 2026

Motorola Razr 70 Ultra and Moto Sound Flow Speakers

I've been following the 'flipper' line of modern Razr phones pretty closely, watching it evolve from a device with a small external display only good for, in reality, notifications and an always-on clock/calendar display to the much, much more capable beast I have in my hands now, the Razr 70 Ultra. I also have a Razr 50 and 60 Ultra here, which were important steps on that evolutionary ladder. But now, the latest and greatest in the line has arrived from Moto UK PR for me to review and compare with those previous models.

As a UWB-enabled device, I am also keen to get it hooked up to a pair of the new Moto Sound Flow speakers, making the most of a bunch of fancy audio tricks, some of which nobody else out there is doing yet. But that's for later. First up is the unboxing and spec comparison with, particularly, last year's model, the 60 Ultra. It is worth noting that this same Razr 70 Ultra is available in North America, but dubbed the 'Razr Ultra 2026'.

The box is black and minimalist, smelling of the now to be expected Pantone perfume - otherwise known now as Signature Packing Fragrance! Inside we have the phone in Pantone Orient Blue (Violet Blue), a USB-C to USB-C cable, no charging brick (at least, retail here in the UK), the usual papers, SIM Card Tray Ejector Tool and the same buckle-style silicone-feel one-piece case that the Razr 60 Ultra came with.

I really didn't like this purple-like colour at first, but actually, it's grown on me quite quickly and I've moved away from thinking it's kind of 'bling' to appreciating that, once again, Moto push boundaries with colours and style - so kudos to them, while others often remain in the black, white and grey territory! The back of my Razr 60 Ultra is the wooden finish, and lovely as the idea is to look at, it's always been very slippery. This sample 70 supplied here has a very well-textured matte material, Alcantara (think suede-like microfibre), which is much more grippy and the phone feels as though it could much more easily be used with no case at all. There's also, like last year, a Cocoa Wood unit available if you prefer - and, I think, in other regions, some other colours and finishes, so check your local supply chain's options.

The, what I call, Buckle Case that comes in the box is colour-matched and has some sticky pads to keep it in place, though actually, I don't think they are needed as it's a snug fit without. It has a buckle protruding from the spine on the back, which makes for much easier one-handed use (as you can put a finger or two through it) to balance the tall-when-open phone in the hand. And when the phone is closed, it's a great 'grab handle' for carrying and retrieving from a bag or pocket. It would be even nicer if it was made from the same Alcantara as the back of the phone instead of the more slippery silicone, but it's fine, and included in the box here in the UK. There's also a lanyard loop/clip thingie in the box which, should you want to hang the phone around your neck, you can place between the base of the phone and the case and dangle it from whatever you like!

The elephant in the room is very much that the phone is very, very similar to last year's 60. Certainly physically. In fact, I think it's identical beyond colour and finish choices, measuring 171.5mm tall x 74mm wide x 7.2mm thin unfolded, and 88.1mm x 74mm x 15.7mm folded. They both feel lightweight in the hand at a shade under 200g, with aluminium frames holding everything together. Even last year's cases fit - so that's a plus! You might wonder why Moto bothered to update the line if it's so similar, but there are a few things under the bonnet which are different, which we'll visit straight away.

Firstly, the battery has had a small hike from 4,700mAh to 5,000mAh. This may not seem like much of a leap, but actually, taking into account platform efficiency tuning, it certainly does seem to perform more efficiently for day-to-day use. Tested against my 60 here, depending on how much the external screen is used over the internal - and, as always, how you use the phone - there is a hike. For my average use, I'd say that there's probably a 10% improvement, so beyond the technical 6% reflected in the data. However I use the phone, closed or open, there's no risk of it not making it through my average day, long as they usually are, and to bedtime. In a flip form factor, without adding bulk or thickness, this is a genuinely useful change.

Secondly, there's an improvement in the internal screen's brightness level, moving from 4,500 to 5,000 nits on the 7" plastic LTPO AMOLED display (1224 x 2992 pixels, 464ppi, 22:9 ratio). Again, maybe not looking like a huge jump, but having both in front of me, I can see that out in bright sunlight on adaptive brightness, things are a bit clearer to see. It is not a night and day visual leap in normal lighting, but in direct bright sunlight, visibility and HDR highlight punch benefit noticeably when using the phone outdoors. That tall screen remains great for consuming media or scrolling through long emails and social posts.

The external screen is the same 4" LTPO AMOLED with a peak brightness rating of 3,000 nits (1272 x 1080 pixels, 417ppi) and protected by Gorilla Glass Ceramic. The ratio is technically 10.6:9, but effectively in real-world use, it's square! What we do have on the external display are two fairly big camera lenses, which had to go somewhere, but thought has gone into software tricks to minimise their impact.

Physically, the hinge reinforcement has had an update from steel to titanium. The titanium gives a higher strength-to-weight ratio than stainless steel and allows the hinge structure to be thinner and stronger, which is partly how Motorola squeezed in that larger battery without expanding the phone physically. The folding mechanism doesn't really feel any different to me and continues to allow for the screen to be wedged open at pretty much any angle.

There is, though, certainly an if it ain't broke, don't fix it vibe going on here. The Razr 60 was as much of a flagship as the Motorola Signature, but in a flip format - a veritable powerhouse in a non-candybar design. Much of the components that made it so are continued here with the 70 Ultra - the very fast Snapdragon 8 Elite chipset, 16GB RAM, 512GB of storage, 68W wired charging, and 30W wireless charging are all retained. Razr phones prior to the 60 Ultra really didn't feel like flagships, appearing more as experimental novelty phones to test market interest, but now they very much do. As I write, tech news is flying around suggesting that Samsung might be done with flip phones after the Galaxy Z Flip8. I hope that's not a trend, and even if it is for Samsung, I hope Moto continue with this satisfying form factor.

By the way, just so as to confuse everyone, there are more Moto phones in the Razr 70 range! The base Razr 70 retains the smaller 3.63" outer window of the previous model with a lower refresh rate (90Hz) and a Dimensity 7450X processor at £799. There's also a 70 Plus at £999, which gets the full 4" edge-to-edge cover screen running at 165Hz and a Snapdragon 8s Gen 3, but bizarrely gets a smaller 4,500mAh battery compared to the base Razr 70's 4,800mAh. It's the Razr 70 Ultra at £1,199, with that Snapdragon 8 Elite, which delivers the top-end performance and hardware efficiency.

The Razr 70 Ultra started out with Android 16 and will get 3 OS updates through to Android 19, alongside 4 years of security updates to April 2030. It's not the 7 years that the Signature got, but then it's a folding device which, with the best will in the world, may well not be up to continual daily hammer in a few years anyway. The IP-rating is the same as the 60 Ultra at IP48. So very good for water, but not so confident for dust. Don't open either up down at the beach! I'm guessing that next year's model will update that to IP68 like other models, but we'll see - it might be trickier for flips than folds.

Setting up was seamless
using Google's baseline setup procedure from my Razr 60 Ultra, replicating apps, layout, settings and preferences perfectly. On the left of the phone, we have the same dedicated hardware key that used to plug straight into MotoAI. However, I discovered on this phone part-way through my review that MotoAI is now Qira! Apparently it's pronounced "Keira" (as in Knightley). It's a unified rebranding that Lenovo and Motorola are rolling out across their whole ecosystem. This is essentially the same suite, but merged to keep track of notifications, drafts and context across Motorola phones and Lenovo laptops or tablets. Tools like Catch Me Up and Pay Attention remain intact, but live under the Qira branding. As discussed recently on the podcast, Lenovorola are trying as hard as all the others to get people locked into their world, which is fair enough if everyone else is doing it!

We also have a newer version of Moto's HelloUI with a few modernisations, most notably their Live Updates system. Motorola utilises Android's status bar pill/bubble notification framework next to the camera cut-out. Whenever a supported app runs a background process like media playback, timers, active calls or navigation, Hello UI pulls that metadata into a compact pill. A single tap expands it into a floating quick-control card right over whatever app you're in, while a long-press opens the host app directly. Because what shows in that status bar bubble on the inner screen directly mirrors how Live Activities behave on the external display, it keeps active tasks visible without taking up space in the primary notification shade. You can tweak or turn off specific app bubbles under Settings > Notifications > Live Updates > Status Bar. It’s one of those quiet software refinements that doesn't always show up on a spec sheet, but visually makes the 70 Ultra feel a generation ahead in daily use.

Then there's LOFIC! While the 60 has 50MP main camera sensors too, the 70 Ultra moves to a Lateral Overflow Integration Capacitor sensor structure. This isn't just a MP numbers game, but genuinely improves things, allowing highlight handling without blowing out bright skies in high-contrast scenes - with Moto claiming up to 6x dynamic range performance. Even for a person like me who doesn't understand digital photography much, it’s noticeable over the 60 Ultra in tough lighting. The new camera tools and cover-screen gestures, including Tilt to Zoom (one-handed camera control when folded) and Frame Match, enable neat usability improvements. My Phones Show Chat podcast co-host Joe Hickey is much more up on cameras and photography and will be covering all this in video format over on his YouTube channel.

Turning to the built-in speakers, I was expecting the worst, as others were reporting a drop in quality, bass and loudness. I absolutely do not find this to be the case. The new Razr 70 Ultra sounds louder than my 60, and I detect no negative difference in tone, bass, richness or quality using identical Dolby Atmos settings across YouTube Music and my own 320kbps MP3 files. Motorola frequently tweaks default Dolby Atmos spatial profiles and gain control via software updates, so perhaps recent updates resolved earlier complaints. Sounds great to me!

Talking of speakers, Moto UK PR also sent me over a pair of the new Moto Sound Flow speakers (£179 each). At the outset, I'd suggest heading for the online manual and following the steps very carefully! The speaker features a twill-textured fabric around the outside, giving it a lovely feel with some heft at 581g, accompanied by an IP67 rating. As a single standalone unit connected via standard Bluetooth, it delivers 30W of output (10W tweeter, 20W woofer, dual passive radiators) tuned by Bose. Classical music, orchestral, solo piano and jazz sound quite superb, with plenty of volume on tap.

In the box you get a delightful disk-shaped desktop dock with pogo pins providing 15W of power via USB-C, alongside an extra USB-C port on the speaker itself for direct charging. The 6,000mAh battery is rated for up to 12 hours off-base, though in my tests at 33% volume it lost about 5% per hour, meaning 20 hours is achievable at lower volumes. The top controls feature a illuminated Moto 'M' logo that handles play/pause, pairing, and call management, flanked by volume buttons, a microphone mute switch and a light ring that indicates status and volume levels in various colours. Downloading the Moto Sound Flow App gives you EQ controls, battery monitoring and unlocks Wi-Fi/UWB playback.

When you fire up a second speaker and pair them with a compatible UWB-enabled phone like the Razr 70 Ultra, you unlock some unique spatial features. Dynamic Stereo uses UWB to track your phone's physical position in 3D space between the two speakers, micro-adjusting phase, balance and spatial delay so the virtual soundstage centre stays pinned directly in front of you as you walk around the room. Room Shift allows audio to automatically hand off to whichever speaker you are closest to if placed in different rooms, while Proximity Handoff transfers audio directly from your phone or Moto Buds when brought near a speaker.

To test this, place the speakers about 7ft apart facing into the room, open the app, create a 'Stereo Pair' and toggle Dynamic Stereo on. Standing 5 or 6ft back, you hear the singer's voice right in the middle. As you walk toward the left speaker, instead of the sound collapsing into that single channel, the UWB chip detects your movement and adjusts timing so the soundstage remains floating directly in front of your face. It tricks your ears into perceiving that the main channel stays centred wherever you stand - a subtle, acoustic transparency trick rather than a flashy gimmick.

There are, however, a few ecosystem and software caveats worth noting. Firstly, while devices like my original Pixel Fold have a physical UWB radio, Motorola’s Dynamic Stereo and Room Shift rely on proprietary code built into Moto's firmware. Connecting a non-Moto UWB phone still delivers rich Wi-Fi/Bluetooth stereo playback, but omits the dynamic spatial tracking. Secondly, the setup process inside the app requires patience. It operates as a bit of a black box with long, uninformative pauses between steps where users might assume it has frozen. My advice is to get one speaker set up, turn it off, pair the second individually, turn both back on and then create the Stereo Pair in the app.

Furthermore, there is an Android media routing quirk when playing audio across the room. If you tap the Quick Settings media card to switch audio back to "This Device" and stop playing music for 30 minutes, Android clears the temporary override. The next time you hit play, Android sees the active Bluetooth standby link and routes your audio right back out to the speakers in the other room! To reliably break the hold, you need to quickly toggle Bluetooth off and on, or explicitly disconnect via the main Bluetooth settings menu.

These software quirks aside - which Moto will undoubtedly refine through firmware updates - the Sound Flow speakers sound fantastic, and the Wi-Fi streaming integration means incoming phone calls stay on your phone without interrupting music playing for everyone else in the room.

Ultimately, the Motorola Razr 70 Ultra isn't a radical redesign, nor did it need to be. Rather than reinventing the wheel, Motorola took the best flip-phone layout on the market and refined the remaining trade-offs: battery life is noticeably better, outdoor screen legibility is improved and the LOFIC camera sensor addresses high-contrast dynamic range limitations. While Razr 60 Ultra owners might not need to jump immediately unless they specifically want the Alcantara finish or LOFIC camera, the Razr 70 Ultra comfortably holds the crown as the most complete, powerhouse flip-foldable on the market today. If you like the flip-phone form factor, you'll love this - it's best in class and is not bogged down by too much OEM bloat, like many others in the space.

Sunday, 27 September 2026

Crimson Peak (2015)

I'm not sure how it's taken me this long to pluck this one from my collection to watch, especially as I've generally appreciated the work of Guillermo del Toro. This is an atmospheric, lavish gothic romance with horror, gore and ghostly interludes, set in Victorian-era Buffalo, New York, and Cumbria, England.

We start off in Buffalo with young Edith Cushing (Sofia Wells) being briefly visited by the ghost of her recently deceased mother - an encounter that terrifies her, though she manages to shut it out. We then jump 14 years into the future. Edith (now played by Mia Wasikowska) is an aspiring author living with her father, a wealthy, self-made businessman. After all these years, she is suddenly visited once more by her mother’s apparition, who this time warns her not to go to Crimson Peak. It's not until much later in the film that we discover what - and where - that actually is.

This warning coincides with the arrival of a charming English aristocrat, Sir Thomas Sharpe (Tom Hiddleston) and his cold sister Lucille (Jessica Chastain). They have turned up looking for investors for Thomas’s clay-harvesting invention back in England. Lucille is suspicious-looking from the start, but it's clear that the bond between brother and sister is exceptionally strong.

After much socialising, it becomes obvious that Thomas and Edith have fallen for each other. However, her father smells a rat and actively seeks to drive a wedge between them to protect his beloved daughter. So much so, in fact, that he attempts to engineer a situation involving a bribe to end the liaison and send Thomas packing. Just in the nick of time for the prospective couple, Edith's father snuffs it, leaving a grieving Edith to marry Thomas and move to his family estate, Allerdale Hall in Cumbria.

The mansion is a decaying mess with half the roof missing, weather getting in, floorboards rotting and the entire structure sitting on top of a red clay mine. As a snowy winter sets in (remember those?), red clay pushes up through the ground, staining the snow crimson. Crimson Peak - aha! Thomas's sister Lucille lives in the massive family seat as well, though there is plenty of room for them not to be on top of one another. Before long, Edith's health begins to deteriorate and she starts seeing ghosts roaming the corridors of the dark, sinister house once more. This is the point where the reveals start rolling out, so I'll leave the synopsis there.

The film has the feel of a classic 19th-century novel - think Jane Eyre or Wuthering Heights. Del Toro uses ghosts not so much for cheap, nasty scares (though there are a few grisly moments scattered throughout) as metaphors for historical secrets, unresolved grief and deep-seated family trauma. What elevates the production further is how he treats Allerdale Hall as an additional character rather than just a backdrop. Apparently built in a Toronto studio as a fully functional three-story set - complete with working plumbing and real snow falling through the gaping roof - the decay feels real. This attention to detail extends seamlessly to the costume design - Lucille's sharp, rigid black velvet dresses are explicitly tailored to look like a predatory black moth, contrasting sharply with Edith’s fragile, butterfly-like bright yellow gowns. It’s a great bit of attention to detail to aid visual storytelling.

Benedict Cumberbatch was originally cast as Sir Thomas Sharpe, but dropped out due to creative differences and scheduling conflicts, while Emma Stone was slated to play Edith before leaving for La La Land. Hiddleston stepped in with just 72 hours' notice after receiving del Toro's call, and Wasikowska took over. The entire cast does an excellent job transitioning from the leisurely, socialite-driven opening in America to the bloody, high-drama climax. There has to be a grand finale in such a sumptuous gothic romp, of course - especially with del Toro at the helm!

I really enjoyed it. It is admittedly a bit of a slow burn at first, but after the first half-hour of its two-hour run time, it picks up and firmly demands your attention. It's over ten years old as I write this, making it widely accessible across subscription streaming platforms. You probably need to be in the right mood for a slow-paced visual treat (at least in the first acts), but if you are, this is a beautifully crafted piece of fantasy-gothic cinema.

Friday, 25 September 2026

Ice Cream Man (2026)

Eli Roth’s latest film is an absolute splatterfest of dark horror-comedy. More comedy than horror, for my money, but certainly plenty of gore - though unlike many horror films, it's all set in bright, sunlit days, not dimly lit caverns and nighttime graveyards! The gore is outrageous, the explainer absurd, and the plot, bonkers!

We start in the American town of Bayleen Bay. A mysterious, silent Ice Cream Man - Jonathan Smiley (Ari Millen) - arrives in his truck playing a hauntingly hypnotic jingle and serving treats with bizarre names like Locust Lick and Froggy Swamp Pop to all the kids in the town - well, most of them. Our protagonist, Jared Mayfair (Charlie Zeltzer), avoids the ice cream because he’s lactose intolerant.

It's a typical small-town American scene, albeit with obnoxious brats being mean to each other, following in their fathers' footsteps, playing baseball, and generally being, well, American kids. Their parents mill around the scene and we spend twenty minutes or so getting to know some of them, their situations, domestic backgrounds, key relationships and boyfriend/girlfriend liaisons.

Anyway, that night, the truck's jingle awakens every child who ate the ice cream. The treats put the kids into a mind-controlled trance and they embark on a gruesome murder spree against their parents. So yes, this bit was in the dark after all! It continues the next day at school as the affected kids massacre any adult who gets in their way. Jared, alongside his lactose-avoiding classmates Tommy and Mia, tries to survive an unrelenting 30-minute assault from the bloodthirsty schoolkids wielding everything from garden shears to power tools. Jared’s teenage sister, Lizzie, gets partially paralysed from a small bite, but manages to throw it up and regroup with her ex-boyfriend, Chris.

The gore is grisly and often inventive as limbs get hacked off, heads roll, brains spill and internal organs gush out - to be devoured by what are by now more like zombie-kids! If they're not eating them or force-feeding the unaffected, they're using them for other creative activities like a colon as a skipping rope - you get the idea. Roth is clearly having fun with the effects team and trying to be creative, finding stuff that films of this genre have not done before!

Then we get the ludicrous backstory which flimsily tries to explain who the Ice Cream Man is, what he is, why he's doing what he's doing, and hooking it all into historic aspects of the townsfolk (including Jared's ancestors), along with some light supernatural elements thrown in for good measure. In order to break the cycle of gore and revenge, the key players must indulge in some gore themselves and execute a ritual as instructed along the way. I won't give you any more details on that just in case you want to watch the film and take it any way other than mad comedy-gore, to be consumed with beers!

Needless to say, there's a grand finale with even more blood, guts and gore, and a final ending which kind of leaves things open a little for more instalments if Roth fancies it, I guess. That includes a quite funny post-credits scene which hooks up with a very funny incident during the chaos earlier, with Snoop Dogg repeating "you scream, I scream, we scream, ice cream" as it rolls! Very funny.

The film plays out very much like what we used to call a B-movie and has a low-budget 'feel' (though the budget was apparently $5.5M) with lots of handheld camerawork and pretty wooden acting from the adults (the kind you'd expect in the 1980s American comedy scene). The best performances actually come from the child actors and 80, I'm told, child extras, by far!

While the story is set in a fictional American town, it was shot in Canada with pretty much all the cast being Canadian too - as you can tell from the accents. Digging further into the background, it seems that Eli Roth wrote the script with his friend Noah Belson all the way back in 2002 after Cabin Fever was done. Hollywood studios turned it down repeatedly because they thought it too dark and sinister with kids brutally murdering their parents and teachers! So Roth launched his own indie horror label (The Horror Section) to fund and shoot the film himself.

There are lots of little nods to pick up throughout if you pay attention, like to Hitchcock's The Birds at one point as the kids are gathered all over the playground's climbing frame. And there are also nods to the iOS vs Android phone rivalry along with references to modern-day tech and its reach. But yes, look out for more! It's great fun - and outrageously funny - and ludicrous - but through it all, I really did enjoy myself and found myself laughing out loud many times during the 90 minutes! Now starting to be available in the UK via streaming services and should be 'included' soon, I'd guess.

Sunday, 13 September 2026

Triangle (2009)

This film is possibly the most difficult one I have ever attempted to review, because its plot twists are so tightly tied to its core themes. It works both as a mind-bending procedural puzzle and as a dark, psychological myth about guilt, grief and punishment.

We start with a group of friends heading out on a small yacht for a day cruise. The group comprises Jess, Greg, Victor, Sally, Downey and a new friend, Heather. Jess is acting a little out of character but says she's just tired - and indeed, once they get underway, she heads into the cabin to snooze for a couple of hours. She wakes, startled, after a bad dream (which we see), but can't quite remember what it was about.

The day continues for a time as they reach deeper waters. Before long, a really weird situation unfolds: the wind completely drops and as they look to the horizon, a wicked storm approaches. They do what they can at short notice, but the storm is violent and chaos reigns. The boat is capsized, leaving the survivors clinging to the upturned hull - and Heather is nowhere to be found.

Just as they are sitting wondering what to do next, they spot a huge ocean liner heading their way called the Aeolus. They wave furiously, and it pulls alongside close enough for them to hop onto the boarding platform and head up the steps. But when they get inside, the ship appears completely empty. Not a living soul in sight.

From here on in, the film plays out like a Greek tragedy - evoking Sisyphus and Aeolus - turning into a thriller about a person trapped in a task they cannot escape, desperately trying to push a 'boulder' up a hill while hoping for a different outcome. You'll likely know about time-loop films if you're reading this (Groundhog Day, Happy Death Day, Edge of Tomorrow), but it's important to note that this is certainly not a simple 'wake up, die, repeat' setup. The film's gripping thrills lie in how its timelines overlap and collide. Characters encounter different versions of themselves and others simultaneously, making for a truly brain-bending experience!

The ship itself is eerie and feels like a haunted vessel, abandoned and decaying, which makes for a great atmosphere from start to finish. To add to this, Christian Henson’s haunting score (featuring the track 'Lullaby') brings a constant sense of inescapable dread, giving the whole film a feverish, nightmare-like quality.

Melissa George’s performance as Jess is brilliant throughout, depicting raw parental anxiety, exhaustion and deep-seated regret. Underneath the slasher/sci-fi surface lies a deeply tragic story about how far a mother will go to fix her mistakes. The rest of the cast do exceptionally well, too. Thankfully, the director doesn't waste time on excessive setup; we pretty much only see what we need to in order to try to unpick the puzzle and enjoy the mystery.

It has been hard to write this without spoiling the experience, but hopefully I haven't given too much away! It's rightfully renowned as one of the most underrated, clever psychological thrillers of the 2000s. I'd encourage you to go in as blind as possible and pay close attention to every minute of the build-up and the actions of the characters, especially in the first half. And then watch it again to enjoy spotting all the clues you missed the first time around! I did find a 17-minute YouTube video by Thomas Thorogood in which offered a deep analysis of what was going on, if you fancy having a look at that (or can't work it out)!

I did also see plenty of 'triangles' weaved into the visuals, which was a nice nod, and Room 237 with writing on mirrors? Surely The Shining's in there too! A super film, well worth tracking down. It's streaming all over the place now and certainly doesn't feel in any way dated, despite being made over 15 years ago. Highly recommended.

30 Days of Night (2007)

This was a film directed by David Slade and adapted from Steve Niles and Ben Templesmith's graphic novel - and it's a corker of a va...