The Rule of Jenny Pen (2024) - A Guest Review by Adrian Brain

With John Lithgow and Geoffrey Rush playing complex, well developed characters, my eyes never left the screen watching this very dark but funny film about ageing, disability and dementia.

Set in New Zealand, Geoffrey Rush plays a former high court judge who suffers a stroke and is admitted to a care home for the elderly. He is wheelchair bound but reasonably compos mentis, unlike some of his fellow residents. The Judge is distraught to find he has to share a room with Tony, a former star All Black, who is now only partially mobile and has incontinence problems. 

After an horrific accident, we find out that this care home isn't the safest of places. To cap it all, fully able-bodied but seemingly demented resident Crealy (John Lithgow, imperious), rules the other residents by mental and physical abuse; stealing other residents food, pushing them over, and eventually far worse. In particular, Crealy has it in for Tony and turns up to bully him and the Judge every night. Crealy has a “companion”, an eyeless doll he wears on his hand when he is tormenting - this is the Jenny Pen of the title, and adds an extra layer of menace and cruelty to his actions.

The Judge tries to stop it all by reporting to the staff, but Crealy is too smart to be caught out, so the Judge decides that when he gets out he will bring the full force of the law down on Crealy. Tragically, the Judge is unaware of his own rapid and physical cognitive decline, and is increasingly less able to defend himself from Crealy.

It is a pitch black scenario, the subject of the film being the inability of the elderly and infirm to be properly heard - they are just “managed” as best they can be. Sometimes the intent of the film gets too muddied by the events though. There are some wonderfully surreal moments and some nicely subtle cinematography (watch how the light moves behind Jenny Pen’s eyes), and the film evoked a lot of conversation. My wife was reminded of “Whatever Happened To Baby Jane” and I thought it was like a bleak version of Bubba Ho-Tep, where the elderly were unable to rage against the dying of the light. There are numerous nods to Hitchcock too. The final 15 minutes or so are a bit stop-start though, and it takes an age to fully meet Crealy at the beginning. A re-edit could go a long way to fix these problems.

Rush & Lithgow completely dominate the proceedings, perhaps almost too much, but they also provide the most compelling reason to watch this. Check out the trailer & if it appeals, give it a watch.

Flow (2024) - A Guest Review by Chad Dixon

Flow (U) is a new animated film directed by Gints Zilbalodis that won the Academy Award for Best Animated Feature at the recent Oscars ceremony. Set on a world where all the humans have mysteriously gone. Although signs of their former existence remain in the form of many wooden sculptures of animals dotted around the forest that were obviously carved by an intelligent being.

We see this world through the eyes of a black cat that seems to be wandering aimlessly through these woods but is totally wary of the possible dangers a feline of it's diminutive stature could face. On a particular day searching for food, it encounters a herd of stampeding deer that herald the arrival of a massive flood. Trying it's best to survive and through some random encounters, the cat joins a rag tag band of misfit critters who find an abandoned sailboat and hop aboard to see where the ever rising flow takes them.

First, I've got to say that I'm definitely not a domestic cat person, so feeling empathy for the main protagonist was difficult, but as there was a small diversity of refugees, I managed to feel engaged with their plight.

The animation style is incredibly realistic, including how everything reacts to the ever-moving waters. Obviously the animators have studied how these particular creatures move in great detail but given the fact that they didn't eat much, but appeared to remain amicable with each other as they navigate their ever-changing environment, seemed a bit of a stretch.

This is definitely not a classic Disney-like collaboration of animal characters that viewers of a certain age might remember. Also, there is no dialogue at all. It's just a group of diverse individuals trying to survive an event that's bringing massive change to their environment. So I'm sure this story has been created as an allegory to what the future might hold for our Planet. At 1h 25m long, it's well paced and definitely keeps your attention as the journey unfolds. I found it quite pleasing.

Goldilocks and the Three Bears: Death and Porridge (2024)

Wow! Llamageddon was low, Winnie the Pooh: Blood and Honey was low, but we have a new contender for the badge. This horribly low-budget film is diabolical in every way you could possibly imagine. The acting, the cinematography, (particularly) the sound (which seems was badly dubbed in some scenes but not others), the script, the story - just everything!

It was a bonkers idea by what would appear to be a bunch of students (the actors all have technical job credits too) trying to make a fast buck, I guess, and getting this 82-minute so-called film onto Amazon Prime.

A British group of young people head off for a holiday in the woods in a cottage they have booked but end up in the wrong house - yes, you guessed it, the house belonging to Goldilocks and The Three Bears. Who are actually 4 psychos, one in a cute dress and Goldilocks mask, the others in bear masks. The four of them rock up at the house to take bloody revenge on the intruders, which they do in sadistic fashion. There are a few scenes of (laughable) gore thrown in as they do grizzly (get it?) things to their victims but it's more silly than anything.

I imagine that this group of people have had great fun doing this and hopefully are, as our own Allan Gildea from our Projector Room Podcast would say, seeking an opportunity to create something they can learn from, crap as it may be - and that at least they have got it out there which is tough enough, rather than yes, a rotten cash-grab attempt.

It's so bad that it's worth seeing in order to witness how bad it is, so I'll leave that challenge with you! Actually the best thing about it is the Goldilocks character's actresses stage name - Olga Solo!

Adolescence (2025) - A Guest Review by Adrian Brain

My word! This is the best drama you will see this year. It is one of those programmes that should hopefully affect change in how we raise our kids, even though it studiously avoids trying to provide solutions to the many questions it raises. This Netflix Mini-Series is drama at its very best.

Jamie is a 13-year old kid, whose family home is raided one morning by the police. He is dragged off to the police station, where we find he is accused of the brutal murder of a fellow schoolgirl. By the end of the first episode, we know all of the shocking events that happened, but the remaining 3 episodes investigate why.

Each episode is shot in a single-take, leading to an urgency and immediacy in the acting. Stephen Graham plays the father of Jamie brilliantly and relatably. Jamie is played by newcomer Owen Cooper - and in such a disturbing, complex role, holds the drama together. Erin Doherty, as the child psychologist in episode 3, also deserves a special shout-out, even though the acting is exemplary across the board.

Stephen Graham and Jack Thorne are the writers, the dialog is naturalistic and avoids moralising or trite solutions admirably. They will be surely scooping up the gongs when awards season comes around. It’s good to see Graham getting 'big gun' support too - Brad Pitt is credited as executive producer, for example - though the drama is about as un-Hollywood as you could get.

It’s not quite flawless. For example, in the second episode, set in the kids’ school, the one-shot technique works against the narrative. We discover the chasm between the kids and the teachers, parents and police of what is actually happening on their social media feeds, but the message is disrupted by the constant flow of characters through the school - and an alarm bell of convenience. This is a small gripe however, on what is surely the 'must see' TV of the year.

Prey (2022) - A Guest Review by Chad Dixon

Set in the Predator Universe, the film 'Prey' came out in 2022. Set in 1719 North America, it follows Naru, (Amber Midthunder) a young Comanche woman living in a small tribe, trying her best to break the stereotype of just being a gatherer like the other females. Instead, like her brother, she wants to prove herself and the tribe, to be an accomplished hunter.

One day, out in the landscape with her trusty canine tracker, she is following a stag when she hears a crack of thunder and witnesses a light in the sky that comes to the ground in the distance. Then later that night she is out with her brother Tabee, (Dakota Beavers) and a handful of other braves trying to kill a cougar that had come onto their usual hunting ground. However, it's not what is stalking them tonight.

This was an interesting twist on a franchise that had definitely gotten repetitive in it's last couple of outings. Director Dan Trachtenberg did a good job of setting this early 18th century, in a part of North America barely touched by the White Man. With the native people still living their uncomplicated lives in balance with Nature in the stunning landscape. Ms Midthunder is definitely the star, is in virtually every scene and I can't really fault her performance. Mr Beavers was also pretty solid. The remaining Native American actors playing the tribal members looked authentic but the other young braves were more like a bunch of Californian surfer dudes in their interactions with each other. Also, it was a bit jarring that they sometimes spoke an indigenous language and then all of a sudden in English.

Part the way through, the siblings encounter a band of French-speaking traders that were typically as arrogant towards them as I guess any White interlopers treated indigenous people's during those pioneering days. All their dialogue was accompanied by only French subtitles, which I thought was a bit weird. Of course we have to mention The Predator. Played by 6'7" former basketball player, Dane DiLiegro, he seemed to have an almost endless array of deadly tech on his scant armour. Regardless, all the various fight choreography against the virtually stone age weapons was done well.

My main gripe is that I would have only liked the viewer to have been aware the alien's presence only when the first tribal member did instead of virtually at the beginning. It just seems to spoil any anticipation of the inevitable encounter. Anyway, the 1h 39m run time is about right and the 15 certificate is warranted due to the graphic nature of how our favourite alien hunter does his thing! Fairly decent popcorn movie which at the moment is free to stream on the All 4 platform at time of writing.

A Complete Unknown (2024) - A Guest Review by Chad Dixon

Currently in cinemas (and now some streaming services) Cert 15. First thing is: You really do have to not hate traditional American folk and acoustic music of the mid 20th Century. Otherwise, the entire cast in this James Mangold directed biopic of Robert Zimmerman nay Bob Dylan's life at the start of the 1960's, nail all their performances.

From Timothée Chalamet in the lead, Monica Barbaro as the sweet songbird, Joan Baez to Edward Norton as Traditional Folk Stalwart, Pete Seeger. Many of the main cast learned to play their instruments to assist the authenticity.

This purely chronologically told story is literally peppered with live performances of some of most memorable acoustic led songs of that era. We follow Bob from his early twenties as he is introduced to the New York folk scene by Mr Seeger.

First playing covers but soon his self-penned lyrics get recognised for their cutting pertinence and outstanding depth. As his fame grows he begins to neglect and annoy people close to him including his on and off girlfriend, Sylvie Russo, Elle Fanning and particularly his stage co-performer and lover, Baez.

Early 1960's Greenwich Village, NY is depicted with meticulous detail. From the many classic automobiles, shop fronts and countless beatniks busking on street corners, the viewer is totally immersed in the popular culture of the time. The 2h 20m run time did not feel at all long as every morsel of the lush visuals and THOSE SONGS kept me transfixed.  Definitely one of the best musical biopics!

Anora (2024) - A Guest Review by Chad Dixon

I was already a fan of Mikey Madison's work after watching her as the totally free-spirited teen in five seasons of the US Comedy TV series, Better Things from 2016. So when I saw she was going to be the lead in a major film release, I headed to the cinema last November to see Anora, (Cert18). It's really not my usual fair so that's why this review is a bit late but now it's won multiple gongs including five Academy Awards at the recent Oscars ceremony, I thought that it's about time now to put down some of my thoughts.

Firstly I want say it was refreshing to watch a story that was told in a straightforward, linear timeline for a change. Set in a fairly modern day New York, the look of this drama could be from anytime in the last forty years and it's only the use of quite recent smartphones in some scenes that place it firmly in the last decade. Anora "Ani" Mikheeva (Madison) is an exotic pole dancer and happy hooker in an upscale strip joint. Although only young, she is pretty confident, dedicated to her job and popular amongst her fellow workers there.

As the only Russian-speaking dancer, one night, her boss comes into the dressing room to ask her to "Entertain" a party of young Russians men flashing the cash out front. She duly complies and pulls out all her charms to give Vanya, (Mark Eydelshteyn) and his pals a good night. Things go well and as the night draws on, Vanya invites her back to his uptown palatial pad to spend the night. Things get even better in the morning when he says he'll pay for her to spend the entire week with him. For her, it's ($)kerching($) time as this sort of money will make her boss happy.

Later that week, as the couple are getting on very well, Vanya springs the jaw-dropping surprise of asking Ani if they'd like to get married in Vegas. After asking him multiple times if he really means it, they jump right in, soon after arriving in Nevada, and get hitched. The young couple are on cloud 9 and return to his New York residence to continue their celebrations. However, news of this whirlwind marriage has gotten back to his no-nonsense Oligarch parents and they fly in on their Learjet from Russia to immediately try to annul the wedding. Soon enough, Vanya's father's associates are banging on his front door!

Now this 2h 19m film does have an 18 certificate for good reasons. The many sex scenes are pretty graphic and I can imagine that the much talked-about "Home Invasion" scene could be quite traumatic for some to watch. However, the second half of the film could almost be viewed as a comedy as these fairly inept associates that include Igor (Yuriy Borisov), a young bodyguard. He starts to feel empathy with Ani's predicament as she's dragged along when they go knocking on various doors all over town trying to find the now, runaway groom.

This simple tale reminds me of TV movies I've watched in the late 20th Century, but it is well shot and deserves to be seen on the big screen. The remaining cast's performances are all believably solid - but Mickey's really does stand out, as Ani tries to deal with the terrible situation she's found herself in, in a brave and forthright manner. She holds her own on-screen with the older ruthless characters brilliantly, so I think it's definitely a well deserved BAFTA & Oscar for Best Actress in a Leading Role. Sean Baker got Best Director and he also wrote and produced it. To top it all, Anora also won Best Picture. Incredible for a film with just a reported budget of around $6,000,000.

Delicious (2025)

What a bizarre drama/thriller this is, now on Netflix. It's a German film about a wealthy German family on holiday in France. They are pretty bored with each other. Like you will be with this film. They all dabble around the edges of the family, flirting with other things on offer (or not), when one day they are coming home from dinner in their car and run over a girl on the road.

She's injured, but because dad has been drinking, they avoid hospital and take her into their holiday home. She accepts and stays the night. In the morning she has gone, with the money mum has left out for her (in order for her to get the picture and clear off). Family sigh relief. Phew! That was a close'un. But - she turns up again the next day and asks to be their maid, with veiled threats, telling them that because of her injuries sustained in the accident she’s lost her job and place to live. They take her in and give her the job so as to avoid litigation etc.

She starts to serve the family, whilst behaving suspiciously around them some of the time, sneaking around doing odd stuff, but on the face of it serves the family well. The dull daughter is starting to behave strangely and the dorky son, just wants photos of the hot maid with his phone, presumably for use later! Mum runs off with a young chap at the beach as she’s bored with dad. Dad beds the mum from another family they know - and by this time you wonder what on earth is going on as it’s turning into a soap opera. It's pretty poorly acted and feels like nothing is going to happen. At this stage, it’s a very dull and dreary low-budget drama, which I almost gave up on. But didn’t.

One hour and twenty five minutes into a one hour and forty minute film, yes, 15 minutes from the end (well, 7 minutes if you take out the credits!), we get the reveal as to what’s happening. And then we get a couple of scenes which depict what's happening in some (almost funny) situations. I’d love to spoil it and tell you what it is to save you the bother of ploughing through the film, but I guess I’d better not! When you know what’s what, you do realise that there have been clues along the way, but it’s so dreary and dull mostly that you’ll probably miss them anyway!

It really is a poorly imagined story with the payoff so ludicrously late in the film that I guess most people won’t get there (or be asleep). There’s very little build-up or tension anywhere along the way, nor anything to keep you hooked. At least if you watch it now you’ll know that there is something coming, unlike for me, going in blind! I really wouldn’t bother with it if I were you. If it had been better made, acted, directed, scripted and produced (with more money, perhaps) it would have the basis of a really interesting story. But they’ve just done it all wrong. Shame.

The Electric State (2025) - A Guest Review by Chad Dixon

Anthony & Joe Russo, known for giving us a number of MCU films epics including Avengers: Infinity War & End Game, now bring us a Netflix feature film based on the Graphic Novel of the same name by Simon Stålenhag. The Electric State (Cert PG-13) begins in an alternative 1990 where sentient robots of all shapes and sizes are totally integrated into society and initially work happily alongside humans to assist with everyday tasks.

Though Michelle, (Millie Bobby Brown), is not one to embrace the robot culture. We first see her at an eastern US High School with her close younger brother Christopher, (Woody Norman). Just passing a high level maths test, he looks like he's off to College early. They both seem to be having an idyllic nuclear family life at this time but there are dark clouds on the horizon.

Flash forward to a few months later. Due to deteriorating robot's rights, there's been an insurrection and war breaks out between them and people but initially the humans find themselves losing to their robot overlords. Tech Billionaire Ethan Skate, (Stanley Tucci) then creates a new way to fight back by adapting his already popular VR headsets to connect to soldier droids, which of course he also manufactures. A truce is eventually called in 1993 and the robots co-sign a peace treaty but are banished to a massive walled wilderness in New Mexico.

In this post war America the human VR controlled droids now become the servants but as a result most humans become lazy and keep the headsets on constantly, allowing their surroundings to slowly deteriorate. In one of these untidy houses, Michelle is now alone and in foster care with a constantly grumpy, lazy man as her entire family has died in a road accident. One night she here's a noise in the yard. By flashlight in the shed, she discovers a lone runaway robot that she recognises as one her young brother loved in a popular cartoon on TV. More then that, it convinces her that it contains the mind of Christopher who's body is alive but being held in New Mexico. She decides then and there to steal her foster father's car and take the robot to go and find her brother.

This is a pretty simple premise that has been used lots before in Science Fiction stories. Someone goes on a quest to find a lost family member and acquires extra team members along the way. In this case it's Keats, (Chris Pratt). A truck driver who lives with his robot best mate in a warehouse bunker just outside the walled wilderness.

It really is Pratt that lifts this cookie cutter plot although Brown is solid and holds her own in their joint scenes. In a film with only a handful humans with speaking roles, the abundance of talking characters here are the robots. Their leader, Mr. Peanut, voiced by Woody Harrelson becomes a major player in the second act onwards.

The imagination that has gone in to create their myriad of wonderful, designs, shapes and personalities are very impressive. The CGI is immaculate so you genuinely accept all the robots and droids are right there with the humans. We definitely take animated characters like these for granted these days. The ending was fairly predictable but well choregraphed and I would imagine it would look good on cinema screens too.

The Irishman (2019) - A Guest Review by Chad Dixon

Directed & produced by iconic Director, Martin Scorsese, The Irishman (Cert. 15) (2019) is Frank Sheeran, (Robert De Niro). Starting in the late 1950's, this story closely follows his early associations, first with the Mob and his close friendship with Russell Bufalino, (Joe Pesci) and then with the President of the Teamsters, the biggest labour union in the USA, Jimmy Hoffa, (Al Pacino). Then how he grows within both organisations and is equally trusted by parties who are at direct loggerheads over the control of the billion dollar Teamsters pension fund.

With the backdrop of major domestic and world events pushing thorns in the sides of almost all of the major figures in these parties, Frank somehow manages to navigate seemlessly through all the turmoil and keeps his family away from the worst of the bad stuff he is involved in. However his eldest daughter of four, still under 10, grows close to Hoffa who has now become a generous uncle figure and as she gets older and has better understanding of the news, is beginning to suspect what her Dad is really involved in.

If you loved Goodfellas (1990), not just because it has the same director and three of the same cast, but because even though some of these real events are well known, the brilliant performances of the extensive ensemble cast will keep you totally gripped! There's too many to name here but I guarantee you'll be saying, "There's that guy from..." and "Look there's whatshisname." The adapted screenplay was written by Steven Zaillian and is based on Charles Brandt's true crime book "I Heard You Paint Houses". All the dialogue is authentically of the time and delivered well by everyone. The violence is not gory but a few scenes may be a bit shocking to some.

One of the other big selling points of this film is the de-aging technology used on all the major characters for the scenes at the beginning of the three decade story. I definitely couldn't see the joins and after the first ten minutes, had totally forgotten that we weren't watching footage shot earlier in the careers of our favourite actors. Overall, I loved this Scorsese classic and now that it's epic 3h 29m run time is available on Netflix, you can take that intermission whenever you want.

We Live in Time (2024)

We Live in Time presents itself as a rom-com, albeit one that defies easy categorisation, weaving a smart and intelligent narrative that resonates long after the credits roll. The film's strength lies undeniably in the palpable chemistry between its leads, Florence Pugh and Andrew Garfield, both delivering performances that are nothing short of exceptional.

Pugh, as ever, proves her versatility, embodying a character grappling with a life-altering diagnosis of ovarian cancer. Her portrayal is nuanced, showcasing both vulnerability and fierce determination. Garfield, equally compelling, complements her perfectly, creating a dynamic that feels authentic and deeply moving. Their on-screen connection is electric, drawing the audience into their complex and evolving relationship.

The film's narrative structure, leaping back and forth in time, initially seems fragmented, but ultimately serves to deepen our understanding of the characters' journey. The unconventional meet-cute, where she literally runs him over with her car, sets the stage for a story that is anything but predictable. The emotional core of the film hinges on the stark reality of her diagnosis, with the looming question of whether to pursue chemotherapy creating a constant undercurrent of tension.

While the film addresses serious themes, it avoids veering into melodrama. It’s a moving story, certainly, but not one that descends into weepy sentimentality. Instead, it maintains a delicate balance between drama and moments of genuine warmth and humour, reminiscent of the classic British charm of "Four Weddings and a Funeral," albeit with a more modern and introspective edge. It's a film that's far too sophisticated to be labelled a simple 'chick flick'.

The inclusion of nude scenes, both having sex and various pregnancy-related exposures, while potentially controversial, feels integral to the film's exploration of intimacy and vulnerability in the face of mortality. The scene where she gives birth in a petrol station's toilet is jaw-dropping! The film doesn’t shy away from the physical realities of the character’s illness, either. It could even be interpreted as a poignant, if unconventional, ode to ovarian cancer, highlighting the challenges faced by those living with the disease.

The exploration of their desire to start a family, juxtaposed with the character’s illness, adds another layer of complexity. Pugh's character’s competitive streak, stemming from her father's influence and her childhood ice-skating, is subtly woven into the narrative, providing insight into her drive and resilience. She's a master-chef, restaurant owner, and woven into the story is the competitive backdrop of her entering a competition, spending time doing that with what she has left, instead of what's important, being with her family.

The film masterfully employs visual storytelling, creating tension through lingering shots of the actors' faces, allowing the audience to glimpse their inner thoughts and anxieties. This technique underscores the film's focus on the emotional landscape of its characters, adding depth and nuance to their performances. Florence Pugh is such a terrific actress - every time I see her, she seems to get better.

Finally, the young actress playing the couple's daughter delivers a terrific performance, adding a further emotional layer to the film. One does wonder if she has family ties to either lead, given the natural performance. Highly recommended and now just making it out of cinemas into a few streaming services in the UK. This review by me, assisted by Gemini 2.0 Flash.

Noreve Pixel 9 Leather Wallet Case

Noreve sent over a couple of cases/covers for some Pixel phones I have here, the other being for a Pixel Fold (which I reviewed here) and now it's the Pixel 9's turn for the luxury treatment. I've never really been a fan of flip/wallet cases for my phones, but as soon as my eyes fell on this one from Noreve's new line, I was changing my mind!

As it was for the Pixel Fold cover, what struck me first about the Noreve Pixel 9 Luxury Leather Wallet Case was the lovely colour that Noreve had chosen for me - Ocean Blue. It really is a striking colour, bold, bright and vibrant on the 'Smooth' finish of this classy, hand-made, gorgeous leather case. The premium leather is simply a delight to touch, hold and smell.

There are twelve colours and a range of textures available: Synthetic, Grained, Patent, Nubuck, Special, Vegan, Saffiano, Premium Smooth or Patina, all made-to-order and sent out, worldwide, from their base in France.

As you can see from the photos, each is dispatched in a premium box and inside, a red drawstring pouch, adding to the unique attention to detail from Noreve. The case is protected inside by a sheet of polystyrene so that there's no risk to it during shipping/transit. The whole experience instills a feeling of confidence that although these cases and covers are far from the cheapest available, they have a special something, missing elsewhere.

You can hopefully see from the photos here that the case has been carefully designed and crafted with this quality leather. Take a look at that stitching - it really is as lovely to touch as it is to look at and creates a premium experience. As you can see, the leather is thick and although I've only had it in hand a short time, it gives the impression of durability over any other case out there - and I've tried a lot of cases over the years!

The flap connector fits perfectly, magnetised, clasping with a satisfying click when folded away. The phone sits inside a red velvety-backed enclosure which firmly grips all sides of the phone - very firmly indeed - it's not going to come loose or fall out! The cutouts for the camera island on the back, the volume rocker and power button on the side, the USB-C port and speaker at the base and microphones around the phone have been perfectly created, again, with this thick, sturdy leather.

The leather which envelops and attaches to the enclosure, wraps around the outside fitting beautifully - and on the front, it feels a little 'padded' too, producing a 'bouncy' soft-touch. Inside the flap, there are three slots for credit/debit cards and behind that, a long pouch for bank notes or papers.

The case has also been equipped with a ring of MagSafe compliant Qi Charging magnets at the rear, meaning that with the right equipment for this Apple-style wireless protocol, the phone won't need to be removed from the case to charge. Sadly, I don't have any MagSafe accessories here, not living in the Apple world, so I have not been able to test this - but our friends over at Noreve have assured us that wireless charging works just as it should and have even provided videos for us, showing it in action. Maybe one day I'll get onboard with this MagSafe stuff along with Qi2 myself!

There's really nothing to complain about here as everything works exactly as you'd expect. It's not the cheapest solution out there, prices range from €135-€260 depending on colour and finish, but I contend that it's worth every penny for such a remarkably classy and premium product - very often in life you get what you pay for. I can honestly say, hand on heart, luxurious as it is, more expensive as it might be, it looks and feels as though it'll last a lifetime - certainly more than the 7 years which Google are promising to support the Pixel 9!

I really wasn't sure about wallet cases at the outset, as I said, but this is so lovely that I've ended up changing my tune! Noreve did send this over to me for review, but in no way dictated to me what I should say in my review and were quickly responsive when I had queries. Recommended. More discussion about this and loads of other mobile-related topics are on our weekly Phones Show Chat Podcast.

The Man Who Wasn't There (2001)

I was rewatching this film as part of a project about the Coen Brothers we're currently running within our Projector Room Podcast and in doing so, remembered what an absolute delight it is. It's a masterclass in storytelling, style, direction and acting amongst much else!

It's beautifully shot in black and white, with film noir dripping onto every frame throughout as the Coen Brothers nail the style and genre of a darkly unsettling crime drama. It's headed up by Billy Bob Thornton (Fargo, Bad Santa, Bad Santa 2, A Simple Plan) playing Ed Crane, married to Doris, depicted by Frances McDormand (Fargo, Burn After Reading, The French Dispatch). He's a chain-smoking barber, working Second Chair for her brother Frank's firm in a small shop in Santa Rosa in 1949.

She works in retail and is having an affair with her boss, Big Dave Brewster, played by James Gandolfini (The Sopranos, The Mexican, Zero Dark Thirty). She's up for promotion in the mix, the suggestion being that she's sleeping her way to it. Ed is a very quiet, thoughtful man, doesn't say much and during this film, and in good noir fashion, most of what he says is to the audience via the character narrating thickly over the story. It works really well and adds to the atmosphere.

Ed's got an eye out for an opportunity and one comes along in the shape of Creighton Tolliver, played by Jon Polito (Miller's Crossing, The Crow), looking for a sucker to invest in his plan to introduce Dry Cleaning en masse to the country. Ed wants in, but needs $10,000 which he doesn't have. He and Doris live a simple life in a small ordinary house, so he needs to find a way to get it. He decides that they best way is to blackmail Doris' boss, anonymously. Frank pays up, Ed hands over the cash, Tolliver, inevitably disappears!

Big Dave calls Ed over to the office one night after a party where he and Doris are back at home, her passed out on the bed, blind drunk. He takes her keys and heads over to see Big Dave, who reveals that he now knows it was Ed who blackmailed him. He attacks Ed and in the scuffle, Big Dave dies. And Doris gets arrested! So she's now in clink and only Ed knows the truth - so what should he do?

Family friend Walter and father of the young piano-playing Birdy, played by Scarlett Johansson (Marriage Story, Scoop, Lost in Translation) recommends a big-shot lawyer who is going to cost, but Ed signs up anyway. He's Freddie, played by Tony Shalhoub (The Marvelous Mrs Maisel, Monk, Addams Family Values), and proceeds to call the tune, stamping on anyone in his way in order to win the case and get Doris out of her fix. Hope you're keeping up at the back!

The Coen Brothers are not losing the audience in all of this though, complicated as the plot may sound, as they present and handle it so beautifully and with structure. The script is super as well and supporting music, thoughtful, headed up by Birdy's oft' tinkering of the ivories with Beethoven's Sonatas. I won't give anything more of the story away as from here things get deeper, darker, tragic and more twisty!

The cinematography, as we might expect, is simply stunning. It's a feast for the eyes, with every frame almost standing out for itself to be made into a noir poster. The use of black and white, the lighting, the shadows, the expressions on the faces - it's a multi-layered character study as well as atmospheric joy - and pretty much everyone in the story has a richness and interest to theirs. It's peppered with humour as well, dark as it may be!

Billy Bob Thornton steals pretty much every scene as he commands the screen with the ease we know he has as an actor. Frances McDormand is also terrific along with all those aforementioned characters depicted by the rest of the cast. The film really is a delight to watch and I'm glad I still have my DVD of it! I just checked online and it seems to be available to stream via Amazon Prime in the UK. Highly recommended.

Nothing Phone (3a) vs Nothing Phone (2a)

Laying aside the (3a) Pro for a minute with its monstrous (stylish?) circular island on the back, here’s a follow-up to our brief discussion on our Phones Show Chat Podcast this weekend in order to further pick it apart. Comparing the new £379 (3a) with the (now) £274 (2a) which I have here still (alongside the CMF Phone 1).

Firstly, it’s (even) bigger! Yes, the corners have been made less rounded, so, like the CMF Phone 1, they, well, stick out more! Added to which the device is overall bigger in each direction anyway - 163.5mm tall (over 161.7mm) and 77.5mm wide (over 76.3mm) - though it is a tad less fat at 8.4mm (over 8.6mm) and heavier too, by another 11g at 201g. Perhaps that’s the glass back instead of plastic. Which is the next point really - does anyone need a glass back? Looks classy I guess, but as mooted on PSC by Steve, it’s highly likely going to be covered up by a TPU anyway - and it not, how much more vulnerable if dropped, we muse. There is a slight improvement in dust protection - IP6 over IP5 - with water sticking at IP4 for ‘splashes’.

The 6.77” (over 6.7”) still 1080p AMOLED screen is, for those wishing to sizzle their retinas, capable of almost three times the brightness of the (2a) at 3000nits (over 1300nits)! They have used Panda Glass (over Gorilla Glass 5) for the screen, which I initially thought was an improvement - but on further research it seems not. “Gorilla Glass 5 is generally considered the superior option over Panda Glass, offering better overall durability and drop resistance, while Panda Glass is a more budget-friendly alternative with good scratch resistance, making it suitable for mid-range devices” reports Gemini. Which as we know is not always right!

You do, of course, get a fresh start on the 3 OS update schedule, so Android 15-18 (over 14-17), which makes it a little more future-proofed. The other change is the inclusion of a SnapDragon chipset (over Dimensity), it being the 7s Gen 3 (4nm) over 7200 Pro (4nm). This SnapDragon has been recently used quite widely by Xiaomi and RealMe. Those who know seem to say that this is a significant improvement in terms of benchmarks for CPU, GPU (resulting in a significant improvement for gaming, for example).

The inclusion of a 2x optical zoom is clearly an improvement for those who might use it over the (2a). This results from the second of the 50MP cameras on the back resulting in c.50mm (35mm equiv.) over 25mm. So turning an ‘ultra’ wide into a ‘standard’ lens (in old-camera-lag terms) though hardly anywhere near a ‘proper’ telephoto as claimed! It’s also slightly faster in terms of aperture, if anyone would notice (well, maybe for shallower depth of field as claimed below for Portrait Mode). They have also added a third lens, producing 15mm (35mm equiv.) wide-angle. The Selfie is the same unit by the looks of it, pretty much.

Bluetooth gets a bump to 5.4 (over 5.3) and wired charging a slight hike to 50W (over 45W), like anyone’s going to notice! Still no Qi Wireless charging. What a waste of a glass (plastic) back! It’s also a shame that they’ve dropped the Milk coloured one (as I thought that to be the nicest) but at least the nice blue one is there (alongside boring black and wanky white)!

The Essential Key is a notable addition on the right side of the device, a button under the power button. Some reports I’ve seen from early reviews seem to suggest that the keys on the new device are a little floppy - which, if true (and not from pre-production units), would be a shame as the (2a) keys are solid. Anyway, this is a (kind of AI) method taking a lead from the Pixel Screenshot app offering the user a quick snapshot way to press to save whatever’s on the screen, add notes and long-press to record voice notes to each for later reference. It will certainly be interesting to try this and see how it performs and how (if at all) useful it is in real-world use.

Nothing OS 3.1 (over 3.0) launches with the new hardware (though it will come to the older soon - well, apart from the Essential Key stuff presumably)! They’ve apparently added Essential Space (the place where the saved content goes) Widgets, allowing users to see the content (or rather some of it, presumably) on the lockscreen. In other changes, they’ve added some camera presets, made the Macro and Portrait Modes better (more bokeh) and added AI-powered face and scene classification to Nothing Gallery (like we need a Gallery app?)

So yes, this has been as you might have guessed by now(!) a run-through of the GSMArena page specs/comparison peppered with some further research/thoughts, but I said I’d have a look and report, having not done my homework properly before recording! So here it is! It would certainly be interesting to give the phone a whirl. It’s on pre-order at time of writing, 10th March 2025, with AmazonUK offering delivery on Thursday 13th. Tempting! (Image from Beebom)

Captain America: Brave New World (2025) - A Guest Review by Chad Dixon

Captain America: Brave New World is the latest cinema release from the Marvel Cinematic Universe and officially the fourth in the Cap series. After the final events of Avengers: Endgame five years previously, Sam Wilson, (Anthony Mackie) has taken over the established mantle and the shield from Steve Rogers, (Chris Evans). Together with his protégé, Joaquin Torres, (Danny Ramirez), who is hoping to be the new Falcon, they face an uncertain world that is divided over the discovery of a new element, Adamantium that was found on a celestial body that sits partially protruding out of the Indian Ocean.

Recently voted into office, former General 'Thunderbolt' Ross, now President Thaddeus Ross, (Harrison Ford) has set up a summit in The White House hosting world leaders to discuss a treaty on sharing the new element and has cordially invited Wilson, Torres and his old friend and mentor, former super soldier, Isaiah Bradley, (Carl Lumley). During the President's presentation, Isaiah and a handful of other random military men in the room suddenly go berserk and only by the quick intervention of Wilson, Torres and the Secret Service, does an international incident and the possible assassination of multiple World premiers not take place. Isaiah makes a run for it!

In the aftermath, Bradley and all the would-be assassins are taken into custody but after some detailed investigations into the video footage of the arrival of guests and the summit, it's discovered that all the potential assassins had been manipulated by flashing lights on their mobile phones. Upon this revelation, Wilson is determined to clear his friend's name but is initially hampered by Ross who post-summit is visibly shaken and partially blames Cap for bringing Bradley to the Summit as a guest. Also, we find out that the President has been secretly unwell for some time and is regularly taking a small white pill.

Later he tries to make amends with the Japanese premier who contests ownership of the Adamantium but he is not convinced. The discord ultimately leads to both nations sending a Carrier group to the contested part of the Indian Ocean and with two airborne US Air force F-18 pilots falling under the influence of the returning mind control, the danger of all out war may be imminent.

Now, I'm a pretty big fan of MCU films, as I was of the comics in the 1970's & 80's, have all the releases involving the Captain America & Falcon characters, (of which Anthony Mackie formally played) and know that there's a lot of Marvel Lore leading up to this particular storyline. There's one character in particular, Samuel Sterns, who reprises his role after a nearly twenty year gap by Tim Blake Nelson as the villain behind the mind manipulations and also the architect of another revelation involving Thaddeus Ross that should really have been an on screen surprise but is all over the trailers and posters.

I personally found this latest offering a bit tame in comparison to those MCU releases of the pre-pandemic era. I understand that this is an early chapter in the building of the latest phase of their multi film story arc, but having less than a handful of main protagonists left me wanting for more. The fighting action scenes are solid and not too relentless. Due to our main superheroes being of the flying variety, the mid-film arial acrobatics are pretty spectacular and on a par with the likes of Top Gun.

It has a surprisingly short runtime of 120 minutes by MCU standards, including nearly fifteen minutes of scrolling credits and a short post-credit scene. Overall I was fairly satisfied and feel Mackie is definitely making the iconic role his own. Together with Ramirez, I feel that they'll both be worthy of continuing the Avengers mantle in future MCU films.

Mickey 17 (2025) - A Guest Review by Chad Dixon

This cinema release is the latest directorial offering by award winning Korean Director, Bong Joon-ho, (Snowpiercer, Parasite). It's also his adapted screenplay from a 2022 novel Mickey 7  by Edward Ashton. Unlike the novel which is set a couple of centuries in the future, Mickey 17, (Cert15) is set in 2054, (scarily only a generation away).

On Earth, Mickey Barnes, (Robert Pattinson) and his friend Timo, (Steven Yeun) find themselves financially destitute after a failed business venture and are now on the run from a ruthless loan shark. Desperate to escape their possible grim fate, they see an advert for volunteers to join a space colony ship funded by multi-billionaire and failed Presidential candidate, Kenneth Marshall, (Mark Ruffalo).

In a flashback, we find out that an experimental human reprinting system has been banned on Earth but now by being fully funded by Marshall, it is now part of his expedition infrastructure. So with his self esteem at its lowest and this option available, Mickey signs up to be an Expendable. Who has voluntarily become a human guinea pig, constantly under the experimental eye of the ship's fairy unorganised, white coated scientific team.

This is explained best by a montage of Mickey going through the process of a lab rat, being injected, dying by sometimes violently puking. Then being deposed of in the on board recycling furnace and then being reprinted in an MRI looking tube contraption with his memory backed up and reloaded into his new body multiple times.

We now concentrate on the ship life of the seventeenth iteration of Mickey. A man still feeling pretty defeated but has managed to catch the eye of and is having a passionate relationship with confident security agent Nasha Barridge, (Naomi Ackie). This monotonous routine continues on for what seems like months and with his many personal sacrifices, a vaccine is eventually developed and it now becomes safe for the crew to explore the icy planet's surface without spacesuits.

It's on a day when he is outside, that Mickey comes too after falling down a deep ice crevasse. He's surprised that he is basically injured and calls out for help. Soon a small ship flies over and he hears it landing. It's his old friend, Timo but after abseiling down just enough to retrieve Mickey's dropped equipment on a higher ledge, he abandons him saying that he'll, "Be just be reprinted tomorrow."

However a bit later, by the unexpected assistance of a number of the indigenous grublike lifeforms, (later dubbed by Marshall as "creepers") he is pushed back to the surface and shortly when spotting a passing maintenance vehicle in the freezing snowstorm, he manages to jump on the back and gets back to the mother ship exhausted but basically intact. He makes his way to his quarters and flops on his bed, only to find another Mickey there... Number 18!

This could be definitely categorised as a Dystopian Science Fiction genre film. However there's a lot more going on here. While initially portraying himself as a saviour of the human race in funding the colonising mission of a new planet, the megalomaniac played brilliantly by Ruffalo then portrays attributes that wouldn't go amiss by the current US premier.

Toni Collette is Ylfa, his charming Stepford style but just as despicable Wife. Most of the crew treat each other with indifference as they've basically been all recruited from the under class in society. There's also the appalling attitude led by Marshall to the indigenous, "Creepers", for whom the crew are later reminded that as it's their planet, we, colonists are the Aliens.

The design of this film, from the unkempt look of the spacecraft interiors and equipment, the poor hygiene of the crew and their uniforms, the unrecognisable food supplements they happily consume in the mess to the believable creature design of the Creepers, could fit nicely into the 'ALIEN' franchise world. There are also some plot similarities to 2009's 'Moon' but there are no AI or robots here.

The many times the Mickeys are seamlessly on screen together makes you completely forgot Pattinson is skilfully playing both roles. There's also a good variety of lowlife performances in the remainder of the cast. Being a fan of many science-fiction stories, I would say the ending is a bit predictable but the 1h 37m runtime seemed exactly the right length. Fans of Bong Joon-ho shouldn't be disappointed by this offering and it should also find a bit of a cult following when it goes to streaming.

The Brutalist (2024)

What? A film with an Intermission? Yay! Mind you, it needs it - at three and a half hours! Fear ye not though, as it's so well done that the time flies. Well, maybe flies is a stretch - but it really didn't feel that length.

It's superbly acted by the cast, Adrien Brody and Felicity Jones are the stand-outs, but also Guy Pearce, Joe Alwyn and Raffey Cassidy do fine jobs.

I'm sure you know what it's about, but briefly it's the (not true) story of an architect fleeing the abuses of WWII Europe in 1947, heading for the USA (land of opportunity) where he bumps into a wealthy capitalist chappie who heads up a family who are bored with their wealth so look for stuff to do. Aha! We'll use this architect to build a community centre in the memory of grandma. So they do.

As the film proceeds we find out more about his family that was left behind, learn more about The American Dream, get embroiled in all sorts of drama as things go well, then not so well and deep-dive on various characters in the tale. It's layered with all sorts of other stuff via clever story-writing and directing (Brady Corbet) and ends up a moving spectacle which will keep you watching. Well, it did me, anyway!

At the cinema now or streaming (though it's still quite expensive there, so it's point-using time again unless you want to wait 'til it's cheaper etc.) I was very impressed.

Noreve Pixel Fold Cover

Noreve sent over a couple of cases/covers for a couple of Pixel phones I have here, the other being a Pixel 9 but I start with this one, for the original generation Pixel Fold. The whole folding phone concept is difficult for case-makers, I contend, particularly when they have a front-facing full screen (unlike, for example, the Microsoft Surface Duo range).

I have tried quite a few cases/covers for my Pixel Fold and none of them really satisfy fully - there's always something not quite right, not quite fitting, not quite tight enough (typically) to hold the device as it should be, but still strong enough to survive being pulled open without the case coming away in one's hand. The original Pixel Fold is a particular challenge in this respect because it's hinge is very firm, stays at any angle and so pulling it open is the real test of how well a case has been designed and put together.

But first, the leather! The classy, gorgeous leather. Noreve sent me one of their 'grippier' versions of the cover (at my request) and it is the Saffiano variant in black. It passes the leather 'smell test' with flying colours, adding to the premium look, feel and appearance compared to many a cheaper model from other manufacturers. There are oodles of different textures to choose from - and even more colours. Each case - or in this case, 'second skin' - is made-to-order and sent out, worldwide, from their base in France.

As you can see from the photos, each is sent out in a premium box and inside, a red drawstring pouch, adding to the unique attention to detail from Noreve. The component parts are protected inside by sheets of polystyrene so that there's no risk to them during shipping/transit. The whole experience does instill a feeling of confidence and that although these cases and covers are far from the cheapest available, they have a special something missing elsewhere.

Anyway, on to the fit and finish. You can hopefully see from the photos here that it has been very carefully designed and made so that there are 'lugs' along the inside of the front portion which ensure that the (particularly front part of the) cover doesn't come away when that stiff hinge is pulled against by the owner, opening things up. Around the edges, there are cutouts for the volume rocker and power button on one side, camera island on the back, speaker up-top, microphones, speaker and USB-C port at the bottom and of course, flush fitting the hinge surround.

There's really nothing to complain about here as everything works exactly as you'd expect, including the Qi wireless charging on a range of chargers that I have around the house/office. As I say, it's not the cheapest solution out there, prices range from €125-€250 depending on colour and finish, but I contend that it's worth every penny for such a remarkably classy and premium product - very often in life you get what you pay for. Noreve did send this over to me for review, but in no way dictated to me what I should say in my review and were quickly responsive when I had queries. Recommended. More discussion about this and loads of other mobile-related topics are on our weekly Phones Show Chat Podcast.

A Ghost Story (2017)

David Lowery's 2017 film, is a haunting and deeply meditative exploration of grief, time, and the cyclical nature of existence. It’s a film that lingers long after the credits roll, its minimalist approach and deliberate pacing creating an atmosphere of profound melancholy.

Casey Affleck (Manchester by the Sea), under a simple white sheet with two black eyeholes, delivers a surprisingly expressive performance as "C," a recently deceased musician. His silent presence is both unsettling and poignant, a constant reminder of the lingering essence of a life abruptly ended. Rooney Mara (Carol, Nightmare Alley, Una), as "M," his grieving partner, conveys a raw vulnerability that anchors the film's emotional core.

Lowery (Peter Pan and Wendy, Pete's Dragon) masterfully utilises long, static takes, allowing the viewer to absorb the subtle shifts in emotion and the slow passage of time. The film's 4:3 aspect ratio further enhances this sense of intimacy and isolation, drawing the viewer into the confined space of the house, which becomes a character in itself. The house, a silent witness to both joy and sorrow, becomes a stage for C's spectral observation.

The narrative unfolds in a non-linear fashion, blurring the lines between past, present, and future. We witness M's initial devastation, her attempts to move on, and the subsequent occupation of the house by new residents. Through C's ghostly perspective, we see the echoes of lives lived and lost, the repetitive patterns of human experience.

One of the film's most memorable scenes involves M eating an entire pie, a moment of raw, unadulterated grief captured in a single, unbroken take. It's a testament to Mara's talent and Lowery's commitment to capturing the visceral reality of emotional pain.

The film is not horror (or even, ironically, a ghost story) in the conventional sense. It's a quiet, introspective journey into the heart of loss, a meditation on the ephemeral nature of existence. The film challenges viewers to confront their own mortality and consider the enduring power of memory and connection. While its deliberate pacing and abstract storytelling may not appeal to all audiences, those willing to surrender to its hypnotic rhythm will find themselves rewarded with a profoundly moving experience.

The film's strength lies in its ability to evoke a sense of melancholic beauty, reminding us that even in the face of oblivion, the echoes of our lives continue to resonate through time. Available at time of writing via some streaming services in the UK. Review by me, assisted by Gemini.