Friday, 9 October 2026

Exhuma (2024)

This Korean film plays out very much like a ghost story with all sorts of supernatural and religious mumbo-jumbo along the way. It's kind of a film of two halves really, with the first being a classic haunted-ancestor ghost story type thing and the second an occult-ish historical commentary about Korea's national trauma during Japanese rule between 1910 and 1945 (which covered the entire Korean Peninsula, not just the South).

A wealthy Korean-American family who lives in LA is haunted by a mysterious affliction affecting their newborn baby and eldest male heirs. They hire two young shamans, Hwa-rim and Bong-gil, who diagnose the problem as a "Grave's Calling"—the restless spirit of the family's wealthy grandfather in Korea calling out to his bloodline. (Told you!)

Hwa-rim partners up with Sang-deok (an expert geomancer/feng shui master) and Yeong-geun (a veteran funeral director). When Sang-deok inspects the grandfather's grave—located on an ominous, unmarked hill near the North Korean border—he senses extreme negative energy and initially refuses the job. However, the family agrees to cough up a shed-load of cash and they decide to perform a ritual (Daesal-gut) to safely exhume the coffin and cremate it without opening it. (Hope you're keeping up!)

While digging, a worker accidentally kills a snake with a human face (Nure-onna) buried near the grave, disturbing the site's spiritual balance. Due to bad weather (which suspiciously arrived just as the snake was killed), the coffin is temporarily moved to a local morgue instead of being immediately cremated (because if they do it in the rain, the person has a 'bad' afterlife, or something)! However, a greedy morgue worker unlocks the coffin looking for treasure (which local legend says might be in there), allowing the grandfather's vengeful spirit to escape. (At this point I was only hanging in to look at the pretty Kim Go-eun (Love in the Big City)!)

Anyway—back to the spirit, who goes on a killing spree, slaughtering his descendants across Korea and LA. Before cremation, Sang-deok learns that the grandfather was an infamous pro-Japanese collaborator (Chinilpa) who betrayed Korea for wealth. He was buried at this specific spot on the advice of a mysterious Japanese monk named Gisune. (At this point I was wondering if even she could keep me locked in!)

After cremating the grandfather's body, Sang-deok returns to the burial mound to 'apologise to the land'(!) and discovers a second, massive coffin buried vertically directly beneath the grandfather's grave. This is where things pick up a bit and the mystery becomes a bit intriguing—so I was back in! The team brings this whacking great big heavy second coffin (which was almost falling apart but held together by barbed wire) to a nearby Buddhist temple. That night, an eight-foot-tall monstrous samurai demon—an Oni—bursts out of the coffin. (Yay!) It kills the temple worker, severely injures Bong-gil by impaling him and summons a floating ball of fire (Onibi) before returning to its grave.

Bong-gil is hospitalised, his body possessed by the spirit, while Hwa-rim realises this entity is vastly more dangerous than any ghost: it is a physical manifestation of a Japanese warlord fused with a cursed sword. Sang-deok realises the entire setup was a trap. During the Japanese occupation, Japanese occultists (led by the monk Gisune) drove iron stakes into strategic points along the Korean peninsula to sever its "spiritual spine" (a geomantic belief known as Baekdudaegan, where Korea is shaped like a roaring tiger and its waist was staked to paralyse the country). (I'm beginning to lose it again!)

And on it goes. You really have to pay attention if you want to keep up with this, especially if you can't get a dubbed version and have to read subtitles! All sorts of scares and jiggery-pokery ensue as the cast leaps about from the burial plot to the temple, cook up decoys, find fish to appease the ghost, head back to the hospital multiple times (with ruthless editing of the narrative, incidentally), being attacked, having organs removed, bodies possessed, throwing up black stuff, drowning the nasty creatures in horse's blood (no, really), setting fire to stuff and leaping from one perilous adventure-point to another, trying to stay alive—so they can make it to a wedding in the final scene! It's completely bonkers on so many levels!

So as usual with these adventures, it's a question of who will survive, if anyone, and who gets their body parts lopped off instead! Or ripped off by the 8ft giant Japanese ghost! I don't mean to make light of it if it's about a nation's relationship with an abusive history, but it is horribly complex and hard to keep up with, making one seek out the humour in it. It's brilliantly acted by the cast, I will say that, especially the main four leads, imaginatively shot as a horror/thriller, and certainly once I'd got past the halfway mark of the 2 hours 14 minutes, it was quite a thrill-ride, even if I wasn't ever 100% sure what was going on!

The film is one part spine-chilling folklore, one part historical exorcism and three parts complete narrative chaos. It might leave your head spinning—and send you straight to Wikipedia or YouTube to figure out what on earth you just watched—but thanks to magnetic performances from Kim Go-eun and Choi Min-sik, superb atmospheric cinematography, and sheer unadulterated madness, it remains a wildly entertaining ride. Just leave your brain at the door and keep up with the subtitles!

Sony Xperia 5 Mk IV (in 2026)

It's almost exactly four years on since my review of this dinky phone. I come back to it to see if it has stood the test of time and is usable as a primary phone for anyone in 2026. It's stuck forever on Android 14 and, as we know, was abandoned by Sony after two measly updates. However, Google continues to push Play System updates to keep it pretty much safe to use, even with banking apps. So what's missing? What's still great? What's worthy of note?

The first thing I remembered was how dinky it was. Even dinkier in all directions than my Sony Xperia 5 Mk V. It really is a tiny phone, even taking into account that 21:9 ratio. Apart from Pixel 3 and 4 phones, I think it's the smallest I have (certainly that is in any way usable now). So thin and light. Of course, the payoff for that is the width - making typing on the keyboard sometimes a challenge - and sometimes screen elements/text not quite rendering properly with text-wraps mid-word, for example. But nothing catastrophic. In a world of 6.8-inch screened devices becoming near-ubiquitous, this is a delight to hold and carry.

I've bombarded it with app updates today whilst charging it up—a combination, in my experience, which often challenges thermals—but honestly, there is only a slight 'warming' on the back, not blazing heat. I haven't found any apps that refuse to run, update or load. It even plays beautifully with the Pixel Watch 3 in every way (that is not Pixel-exclusive).

I do immediately note that I'm no longer used to having to work with 128GB of storage on phones. The new standard is certainly 256GB and, with many phones—particularly out of the Far East—512GB. Still, Xperia phones still have trusty microSD card slots, so all one's data can be bunged onto an expansion card. It's a little slower to read/write, for sure, but once apps' libraries are loaded the first time, it speeds up considerably. Some may be fine with 128GB in this day of streaming what is wanted, but I do like a backup!

Notification LED (Deep Dive Warning!)
Then we come to the two things that really draw me back here: the Notification LED—which, actually, goes some way to negating the need for a smartwatch at all—and the Always on Display's Album Art (which I'll come to later)!

There's a whole range of hardcoded system functionality built in by Sony, particularly around power and battery state: Solid Orange/Amber: Charging while battery level is between 15% and 89%; Solid Green: Fully charged (or reached 90%+ while plugged in); Flashing Red: Battery level under 15% when unplugged, or an overheating/charging error; Solid Red: Plugged in and charging, but battery is under 15%. Beyond battery status, the LED traditionally handled a full spectrum of app notifications: blinking white for standard SMS/RCS messages, missed calls and general system alerts; blue for Facebook, Signal, Outlook and X; green for WhatsApp, Spotify and Google Meet; yellow for Snapchat and Google Keep; cyan for Telegram; and purple for Viber, Discord and Twitch. I honestly never knew how extensive that list was!

However, a quick double-check with software developer Malcolm Bryant (of Freepoc fame) shed some fascinating light on how this actually works behind the scenes under Android 14—and why some of that functionality has shifted over time. As Malcolm explains, in the early days, Sony maintained a bespoke API that developers could tap into for fine-grained LED customisation. That was eventually discontinued. Today, LED control has to be handled strictly through standard Android "notification channels" (the granular categories you see under Settings > Apps > [App Name] > Notifications).

When a developer creates an app, they specify parameters for each channel: priority level, sound, and—though seldom used by modern devs—whether to enable an LED blink and what colour it should be. If an app developer explicitly codes a custom LED colour into their notification channel (like WhatsApp, Telegram or Signal still do), the app 'instructs' Sony's hardware to flash that specific colour. If an app doesn't specify a colour or relies entirely on default system notifications, Android 14 falls back to a basic blinking white light.

Back in Android 8, through to Android 11, the OS had a native system-level menu allowing users to manually assign custom LED colours to any app, regardless of what the developer intended. Google removed that native override menu in Android 13/14, so we can't blame Sony for its absence! The good news? If you want complete control back, Malcolm notes that third-party utilities (like Light Manager 2 or Notification Light/LED) work using a similar mechanism to his own Notification Reader. They hook into Android's notification listener service to detect incoming alerts, check for keywords or apps and trigger custom LED colours, pulse speeds and per-contact lighting.

So, to summarise Malcolm's neat breakdown
System Level: Sony directly controls the LED hardware for core phone states (like battery levels and charging errors); Developer Level: App developers can request specific LED colours via Android notification channels, though many modern devs don't bother; Third-Party Utilities: Apps like Light Manager 2 can listen for incoming notifications and force custom LED blinking for apps that lack native support.

A bit of a deep dive, but a proper look into a feature that Sony kept alive long after the rest of the market abandoned it!

Sony LinkBuds Clip vs Moto Buds Loop
I've recently been playing with the Sony LinkBuds Clip and Moto Buds Loop and, firstly, I think this form factor for casually worn earphones is totally the best, at least for me. No jamming stuff down the ear canal, no unwieldy over-ears all day—put these on, pair them up, and forget them. Particularly useful for notifications. A case in point is Malcolm's excellent Notification Reader. But before we get there, I'll just add that I was surprised that the Sony Sound Connect app gave me their own read-out notifications inside Scene settings for these Clips, just like it does for much newer hardware—in my case, the Sony Xperia 1 Mk VI. So kudos to them.

But further kudos to Malcolm, as his application only really started as an aside requested by one of our Phones Show Chat Podcast listeners who has no sight. I jumped on it and, I'm afraid, gave Malcolm loads more work ironing out bugs and stuff, which I don't think he was allocating his time for at the outset! But it really does well—and is much more developed with many more features than Sony's built-in one. For one thing, Sony's only works at all if you have their (recent) buds (or headphones) connected—it totally relies on their app. Malcolm's app makes that work for any headphones—or indeed via the phone's speakers. So when I use my Moto Buds Loop, it all works beautifully. And, into the bargain, I do think that they sound better—and have loads more battery life (like almost double)!

Always on Display Album Art (Deep Dive Warning!)
I told you I'd come back to this, and it's worthy of a section of its own for sure. It really is a feature that I like. Yes, it does use battery (but surely only a tincture if you have the AoD on anyway), but it's such fun to see the full album art on the AoD as soon as the screen times out. This is apparently down to Android's 'media subsystem' and how it handles streaming apps like YouTube Music, Spotify or BBC Sounds. When you stream a track on YouTube Music (even if you don't own the file or have it stored locally), YouTube Music's servers send 'the metadata payload' (Track Title, Artist, Album Name and a high-resolution Bitmap image of the cover art). When it starts playing, it creates a native Android service called a 'MediaSession'. As part of that session, the app pushes that artwork bitmap directly into Android's internal MediaMetadata cache memory.

So Sony doesn't need to hunt for local MP3 tags or search Google Images in the background. Instead, Sony’s AoD software simply asks the Android OS: "Is there an active MediaSession right now? If so, hand me whatever bitmap image is currently stored in MediaMetadata." Because YouTube Music (or Spotify, Tidal, Apple Music or whatever) fetches the high-res album art from its own cloud servers and hands it straight to Android, Sony’s display code just grabs that cached image from system memory and renders it on your screen. For local music files on your SD card, the music player app reads the embedded ID3 image tag directly off the file and pushes it to MediaMetadata.

So why don't I see a blank placeholder there if I play a locally stored file (which might have no image data)? Apparently, even in that scenario, modern media players and the Android OS handle missing metadata through a combination of local fallbacks: The Local Music Player App Does the Heavy Lifting: If you play an MP3 or FLAC file on an Android music player and the file itself has no embedded ID3 cover image, the player app immediately runs through a fallback routine before broadcasting its playback state: Folder/Directory Scan: The app checks the folder where the MP3 is saved. If there is a generic cover.jpg, folder.jpg, albumart.jpg, or .art file sitting in that same directory, the app uses that. Online Fetching: Most local players have an online artwork-fetcher enabled by default. The player reads the track/album title from the basic ID3 text tags, queries a public music database (like Last.fm, MusicBrainz, or Cover Art Archive) over Wi-Fi/cellular, grabs the matching cover, and caches it locally on your storage. App-Generated Graphic: If the app can't find anything online or offline, the app itself generates a fallback graphic — usually a coloured background with a stylised musical note, or a dynamically generated geometric pattern matching the artist's name.

Once the music player app settles on an image (whether real, fetched or generated), it passes that final bitmap image to Android's internal MediaMetadata buffer. Because Sony's AoD reads whatever image is held in the system's MediaMetadata cache: If the music app provided an image or generated art: Sony's AoD displays whatever bitmap the player app passed down. If the music app passed no image at all (null artwork): Sony's AoD doesn't crash or display a blank box. Its system software falls back to its own default system placeholder—a minimalist, blurred ambient gradient or Sony's clean, stock musical note motif. So you never see a completely blank space: either your music player app automatically fetched/generated something behind the scenes, or Sony's display software seamlessly filled the gap with its own system fallback graphic. I have to say though, having used a mixture of sources on/offline, connected or not, I don't ever remember seeing the album art not being there. For OEMs, this, then, doesn't seem like rocket science—so I wonder firstly why Sony took it away after the IV-series Xperia phones, and secondly why other OEMs are not doing it. I guess it must just come down to battery.

It does 'time out' from the AoD—and so to another Gemini-infused deep dive! Skip over this if you're not interested, but I find it fascinating, so I'm including it! That "disappearing act" isn't a random glitch or an arbitrary timer built into Sony's display software—it is driven by Android's system-level 'Foreground Service' policies acting on the media app. While a song is playing, the app (YouTube Music, Spotify, VLC) runs a Foreground Service with a persistent audio session. Android keeps this service alive at high priority and Sony’s AoD continuously renders the album art provided by that active session. When you hit Pause, the app signals to Android that audio output has stopped (PlaybackState.PAUSED). The app drops out of the active "Playing" state, but Android keeps the session warm in memory for a brief grace period in case you tap Play again.

To prevent paused apps from silently eating up RAM and battery in the background indefinitely, Android imposes strict limits on idle background services: The 2-Minute Grace Period: Once an app remains paused for around 2 minutes, Android's MediaSessionService automatically drops the app from the system's "Foreground" tier down to background idle. Service Termination (onDestroy): After dropping to background idle (usually between 2 and 10 minutes depending on OS battery management and RAM pressure), Android destroys the idle background service. Session Teardown: When the app's playback service is destroyed, Android releases the active MediaSession and clears the MediaMetadata bitmap buffer from memory. Because Sony's AoD software is purely a "passive listener" to Android's MediaSession, the moment the system clears the MediaSession from memory, Sony’s AoD detects that there is no longer an active track, gracefully fades out the album art, and reverts to the basic clock and notification icons. Sure enough, I timed it—sad wretch that I am—and it disappeared (using YTM) in 3 minutes. However...

...it came back on when a notification came in for another fresh 3 minutes, which is as a result of how Android manages media states. When a notification pops onto the screen, Android sends a broad system update signal across all active layout managers—including the lock screen and AoD controllers—which forces Sony’s AoD to re-query the OS: "Is there still a MediaSession registered?" Since YouTube Music was still sitting paused in memory, Android re-exposed the cached track metadata to the display engine, and the 3-minute timer reset!

If you want the album art gone immediately without waiting for Android's background rubbish collection, you can either swipe away the media player card (swipe down the notification shade and swipe away or long-press and dismiss the media player card, which explicitly calls MediaSession.release()). The app tells Android to tear down the audio session and wipe the MediaMetadata cache instantly. Sony’s AoD sees NULL art straight away and reverts to the standard clock. Or, of course, one can just stop the app via Recents, instantly killing the underlying process. So as long as that playback card is sitting in your drop-down shade, the app maintains a "warm" session that any incoming notification can wake back up!

But there is an exception here—if you deal with that incoming notification and the Notification LED continues to flash, the album art stays alive! When an unread notification arrives and the LED is actively pulsing, Android enters an "Attention Required" state. Under the hood, two specific system behaviours keep the artwork alive: 
Low-Level Power Lock: Because the phone hardware is actively driving the notification LED (blinking every couple of seconds), Android's Notification Manager holds a low-level power lock (PARTIAL_WAKE_LOCK). While this lock is active, Android delays its aggressive background cleanup process. The OS assumes you are about to pick up the phone, so it deliberately postpones killing idle background services—including YouTube Music’s paused MediaSession. System State Refresh: Sony’s Ambient Display engine is wired to refresh its lock screen layout whenever a system state changes (like driving the LED pulse and listening for user interaction). Every time it refreshes, it queries the OS: "Is the media session still in memory?" Android replies: "Yes, because the system hasn't cleared the background service yet!" So the 3-minute idle timer won't get a chance to run its standard cleanup routine until the "Attention Required" condition resolves. Once you dismiss or open that notification (stopping the LED from flashing), Android releases the system wake lock. At that moment, the standard background countdown begins, and 3 minutes later, YouTube Music's cached session will finally drop out of RAM, taking the album art with it!

I bet Malcolm's the only person to have got this far!

Dynamic Vibration
This is a wonderful feature in which Sony's haptic/vibration motor picks up on the 'beats' of music being played (or any sound really) and tries, pretty successfully, to allow you to 'feel' the music in your hands—much like Nothing Phone does with lights instead. Another feature that Sony has stripped out with newer Xperia devices, incidentally. Again, I can only assume, because of battery consumption. It's particularly impactful if you're watching video in landscape, holding the phone between two hands right in front of your face. Now, I guess many people wouldn't want to look at this small screen to watch a film, but it might come in useful when you have some time to kill and have no other, bigger screens as an option. Anyway, it's pretty neat to have rather than not! I guess it is designed primarily for video-watching as, yes, it goes off if playing music and the AoD kicks in. There's a slider to adjust the level of vibration, much like for volume: Off, 1, 2, and 3 (most effect).

Speakers
These remain very, very good compared to even the most modern of phones. The Xperia 5-series was never quite as loud/qualitative as the 1-series, and the 5 Mk V is indeed slightly better than this 5 Mk IV, but, as I say, it remains very, very good. Put up against the 1 Mk VI it's significantly less powerful, but then all the 1-series Xperias have much more space in the phone's shell to enhance the sound—and yes, components, technology and software get better with time. But I doubt that 99% of people listening to this 2022 phone would have any complaints—particularly in isolation, not on a comparison testbench!

The stereo speakers fire forward from each end of the screen, making use of those rather sizeable bezels top and bottom (something that, incidentally, even now, Sony sticks with), and the soundstage, given the size and data above, is really very impressive. There's also the full, extensive Dolby Atmos suite to play around with and change the sound, as depicted in my original review. Nothing's changed here since then and it works beautifully, so perhaps have a re-read of that via the link above.

Battery
I've been using this phone now on and off for 3+ years and the battery holds up pretty much as it did on Day 1. Well, maybe not quite as good—I see from my review that I was claiming 2 hours and 45 minutes on my 10% Reading Test, and I did another of those today and it was more like 2 hours 30 minutes. It's a Li-Po 5,000mAh cell (the same as for all Xperia phones, even today) and because it's small and driving a 1080p screen (which I have set to 60Hz refresh rate)—and I have the AoD on the whole time (except for when it switches itself off in my pocket)—with my average daily use it's giving me 50% at bedtime, even on long days. As always, it totally depends on how you use your phone and this data is for my use, so your mileage on this will indeed vary! There's nice-and-safe 30W wired charging, which charges from flat in only just over an hour—and halfway there in half an hour—15W wireless and even 5W reverse wireless.

Specs
I was just reviewing the general specs on GSMArena to double-check the data and, you know, on release in 2022, it was very well specified. Mind you, for £949 it should have been! 5G, Gorilla Glass Victus on front and back for a level of protection (especially for those risking caseless), a lovely black (in my case) Aluminium frame, Nano-SIM and eSIM capability including Wi-Fi calling (VoIP) and IP65 and IP68 compliance for dust and water. The screen can refresh at up to 120Hz (though, as I say, I have it on 60 to save battery and can't tell the difference—maybe for gamers, eh!). The Snapdragon 8 Gen 1 (4nm) chipset feels totally fast enough in every way to me and there's that 3.5mm high-res audio jack for those wanting to plug in with wired ear/headphones. Bluetooth v5.2 is staggeringly good still, even though at the time of writing we're up to v6, and there's that 100% reliable side-mounted fingerprint scanner. Don't forget USB-C 3.2, OTG, and video output, which means that we can hook up to thousands of other screens and devices with a cable (as well as wirelessly). Connectivity on all fronts seems great still, including NFC and GPS for mapping—all still solid.

The OLED screen is gorgeous still too, with those deep blacks and loads of ways to adjust that in Sony's own display settings. It's so cute and dinky—the main difference between this, in that respect, and the 5 Mk V is that the latter certainly got fatter. The latter got fatter! It's technically not much (0.4mm), but in the hand, especially when using Sony's own Style Case (in which the sides are 'open'), it really feels thinner. Even more so if you take the cases off both. Because it's small, it's light at 172g and it really is a delight to use and carry, as I said! I'm OK still with the 21:9 and, in some respects, it's better. The only thing that I'd add is that Sony, with the 1 Mk VI, introduced a 19.5:9 screen aspect ratio. And since they are no longer producing the 5-series, I guess we'll never see that here. They have also adopted it for the 10-series in the same timescale, so if they had kept making the 5, presumably it would have been switched as well. So, pros and cons on the two aspect ratios—the main one for me is having a slightly better/wider keyboard experience.

Cameras
It does, of course, have native Sony Alpha camera support for those who dabble and three 12MP sensors including a 2.5x optical telephoto, Zeiss optics and T* lens coating on them all, eye-tracking in various modes, 4K video shooting and a load of other stuff. Check the link above to my review, as nothing has changed with the cameras since then, and you'll find my thoughts and links to other folk deep-diving on it in video and writing. What has been recently added (and taken away) from more modern Xperia phones is a merged camera software experience for the benefit of Joe Public—they are clearly trying to make their phones these days appeal more to the mass market (by bundling most of the camera stuff into a single app—and it works well) rather than nerdy photography geeks! This phone has 4 separate apps for all the photography stuff and, yes, it is confusing for most people (without an Alpha camera)! Most people like me are not going to use video anywhere near as much as stills cameras, and the physical shutter button can be long-pressed to invoke the base Photography Pro app—and that works just fine. Oh - did I mention that the phone has a physical two-stage camera button just in the right place when holding the phone in landscape, like you would a camera? Joy.


Verdict
So, is the Sony Xperia 5 Mk IV still usable four years later, stuck on Android 14..? And hello to those who have jumped straight here! Yes, absolutely. In fact, far from being a compromised compromise, stepping back to the Xperia 5 IV highlights everything that modern AI-saturated, mega-sized flagships have lost along the way. It has unrivalled ergonomics and utility: At 67mm wide and 172g, its pocketability and single-handed usability are virtually extinct in 2026. You still get a notchless 120Hz display, dual front-facing speakers, a 3.5mm jack, a microSD slot, a physical shutter button and the beloved notification LED—hardware features almost entirely abandoned elsewhere. There's a 'Pure' Android experience, free from intrusive generative AI pop-ups, forced cloud assistants or heavy OEM skins. It's running Sony's clean stock-like Android 14 interface which feels fast and refreshingly clutter-free. While Sony's official OS upgrades ended at Android 14, ongoing Google Play System updates continue to keep the core OS modules, media frameworks and Play Protect definitions current, keeping banking apps and daily services fully functional and safe. Driven by 8GB of RAM, a Snapdragon 8 Gen 1 and a 5,000mAh battery (set to 60Hz), it sails through day-to-day messaging, web browsing, audio streaming and companion gear integration without missing a beat. It proves that when a phone’s core hardware foundation and software philosophy are this clean, it doesn't need the latest OS version or fancy AI tricks to be a delightful main device.

Wednesday, 7 October 2026

Deadgirl (2008)

This is an indie horror/thriller directed by Marcel Sarmiento and Gadi Harel. It's dark, involves body horror, is disturbing to watch (and indeed to consider that it was made) and dives deep into the abuse of women, macho claims of sexual entitlement and poses some challenging moral questions. Well, for the characters, anyway. I'm sure that almost everyone watching it would know where the morality lies!

Rickie (Shiloh Fernandez) and J.T. (Noah Segan) are two high school teens in an unidentified town in America, living in poor-looking home situations with broken families and little opportunity. J.T. is cock-of-the-walk, overconfident, experimental in life, pushes boundaries and wants experiential fun. Rickie tries hard to be his moral compass, but J.T. is convincing and drags Rickie into all sorts of stuff, though we can see that Rickie is often not comfortable with it.

We join the story as we see that Rickie has eyes for his childhood sweetheart, Joann (Candice Accola), who is being kept out of reach by one of the macho school 'jocks', whom Joann clearly likes the thought of being with for social standing. We then spend some time with J.T. and Rickie as they skip their classes and head off for the day looking for adventure.

They end up breaking into an abandoned psychiatric hospital and have fun vandalising it, drinking and smoking. As they explore deeper into the basement, they find a naked, mute woman (Jenny Spain) chained to an autopsy table with plastic all over her. While Rickie wants to call the police, J.T. sees her move and realises that she's alive! After much poking and prodding and trying to work out what's what, Rickie gets cold feet and leaves the scene, heading for home. He almost calls the cops, but is interrupted and doesn't get around to it.

He returns to the scene, where J.T. has by now had his wicked way with her and, in the process, physically abused her in order to "control" her. So now we're into the theme of male domination and assumed physical rights. He also discovers that she can't die. At one point he actually shoots her with a gun, three times, and she survives. It's clear that the girl has been there for a long, long time, so something supernatural has clearly gone on - though the characters, trying to piece it together, suggest that she might have been a patient who medics were experimenting on.

Anyway, things go from bad to worse - sinister and dark to morbid, grisly and gory. Rickie tries to free her at one point, but when J.T. discovers this, he is enraged that his friend would spoil his "fun" and think differently from him about what he sees as a golden opportunity to keep her chained up as a captive sex slave, nicknaming her "Deadgirl". Having lost Rickie, J.T. decides to share the opportunity with another friend, so the secret starts to get out. Deadgirl takes opportunities where possible to bite anyone (or anything) in the vicinity, and once bitten, terrible things happen to them - some dying, and some living on as "undead" like her!

Usually I find this kind of horror funny, but this example doesn't evoke that at all. The themes are too nasty, and J.T. seems to turn very quickly into a sociopath - abusive, cruel and dehumanising a body that is clearly human and female. Rickie tries, as I said, to uphold any semblance of morality amongst all this chaos, but the film clearly implies that, apart from him, the school is full of like-minded males with little moral compass who are easily swayed towards gratification by someone who has gone loopy!

The film has never been banned, as such, but has been given '18' status in the UK and because of its themes of sexual assault, non-consensual graphic nudity and necrophilia (kind of), many mainstream digital platforms and physical retailers refused to carry or promote it.

Some acting notes of interest are that Jenny Spain, Deadgirl, had never acted in a film before and spent nearly the entire shoot nude, cold and covered in prosthetics! Shiloh Fernandez (Rickie) went on to star as David in Fede Álvarez's Evil Dead (2013). Candice Accola (Joann) shot Deadgirl just before landing her role as Caroline Forbes in The Vampire Diaries and Noah Segan (J.T.) went on to become a staple in Rian Johnson's films (Looper, Knives Out, Star Wars: The Last Jedi).

Anyway, the takeaway here amongst the mayhem is that usually in "zombie" films, the "creatures" - the undead - are mindless monsters, and humans are the survivors defending society. Here, the 'zombie' (though the filmmakers avoided using that term) is a victim and, actually, it's the living human teenagers who are the monsters. It's a challenging watch if you fancy it. It reminded me somewhat thematically of the film The Corpse of Anna Fritz (2015), which I reviewed previously. Deadgirl is actually quite hard to get hold of to watch in the UK just now, but it'll come around on streaming services.

Lanterns (2026) - A Guest Review by Chad Dixon

I've now finished watching this eight part HBO MAX TV series. If you come cold into this show without any previous knowledge of the 'Lantern' comics or haven't seen the 2011 'Green Lantern' film, then lots of it could seem a little bit confusing. However, I thought that the tale they told in this season was fairly straightforward.

Rushville is a small town in Nebraska and the strange goings on in this seemingly sleepy hamlet is something that Kyle and, on his first official outing, John have to investigate. Early on it's clear that there is a extraterrestrial entity involved - and a powerful one at that - so caution is needed!

I liked all the lead characters and the acting was pretty decent from everyone. Kyle Chandler is playing the Ryan Reynolds character and all those dysfunctional 'buddy cop' scenes with his protégé, John Stewart, played by Brit, Aaron Pierre was very entertaining. Kerry, the town Sheriff played by Kelly Macdonald is the other main player here and she is also brilliant! I personally find it amusing when there's a scene, just between two Brits when both of them are speaking in their American accents!

I didn't mind that there wasn't much all-out superhero smash-and-crash action and that the many dialogue-heavy scenes didn't contain too much banal exposition. The few flashback episodes were well done, providing good context for the motivation of the main protagonists and their various arcs all felt well-placed in the overall plot. It reminded me of the 'Watchmen' TV series that came out in 2019 which I also really enjoyed! I'm looking forward to Season 2 already.

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)

Exhuma (2024)

This Korean film plays out very much like a ghost story with all sorts of supernatural and religious mumbo-jumbo along the way. It's kin...