Cure (1997)

Kiyoshi Kurosawa’s Japanese masterpiece is a real mixed bag that I'm not entirely sure I completely understood! Armed with notes from other reviewers, I think I might have just about got there. It’s a creepy 'horror' about hypnosis that works on two levels. As we follow the story, we find ourselves sucked in as an audience - it feels as though Kurosawa is hypnotising us, too!

Some Spoilers ahead - but not too many!

Horror it might be, but daft jump-scares there are not. Instead, the film relies on a slow-burn tension with shocks scattered throughout. The characters succumb to the will of a 19th-century 'mesmerism' that has been passed down, lurking inside human carriers and vessels to stay alive. We know almost from the beginning who the current 'carrier' is - an unsuspecting, kindly family finds him wandering on a beach, seemingly lost with no memory of who he is. They take him in to help, only to become his first victims.

The strength of the storytelling lies in how the mystery unfolds, feeding us small pieces of information at a perfect pace. Our carrier is the enigmatic Mr Mamiya and Detective Takabe is hot on his trail from early on. Takabe fails to realise the danger he is in as Mamiya hypnotises various people into committing grizzly, violent crimes against poor, unsuspecting innocent folk.

Takabe’s own life is falling apart at the seams. His wife suffers from severe mental health problems - and the more this case gets under his skin, the more irrational and anxious he becomes. While he struggles to care for his wife at home, he is baffled by how Mamiya operates - especially when the man is locked in a cell! He persists, and alongside his colleagues, begins to unpick the mystery - though the body count rises faster than they can find answers.

The hypnotised killers carry out gruesome murders but have no memory of their actions. This makes the investigation exceptionally difficult for Takabe. Since the killers don’t hide their deeds and are easily caught, they have nothing to tell him, causing the detective further frustration. The only consistency is a large "X" carved into the victims' upper torsos - a chilling calling card!

Mamiya, a former psychology student, appears to have only sketchy knowledge of his own actions, at least in the first half of the film, displaying genuine amnesia. The mesmerism makes use of repetitive sounds - water droplets or the rhythmic flicking of a cigarette lighter - which form a core part of the soundtrack, effectively getting under the viewers' skins as well.

The film serves as a kind of commentary on the thin skin of modern civilisation. It suggests that the "cure" Mamiya offers is actually a release from the suffocating politeness and repressed rage of everyday life. By stripping away his victims' identities, Mamiya isn't just killing people, he is "freeing" them from the burden of being human. This philosophical dread lingers long after the credits roll, making the mundane sounds of the city feel suddenly threatening. (Clever Gemma's summary!)

That is probably enough spoilers for now, leaving enough unsaid to enjoy the rest of the film's near 2 hour runtime, but that is the flavour of the setup. Kōji Yakusho is excellent as Takabe - convincing as the man falling apart, Masato Hagiwara is chillingly portrayed and well detached as Mamiya and the supporting cast playing the ordinary people who suddenly turn to violence are believable too.

Dark, surreal and eerily shot, the cinematography keeps us on our toes, blurring the lines between what is real and what is imagined. As you would expect, the finale is shocking and well worth the wait. In terms of atmosphere and style, the film feels like a blend of Se7en (1995) and The Silence of the Lambs (1991), probably more so the former for the slow-burn and a couple of other reasons! It is a real treat - track it down.

Bone Lake (2025)

This is an attempt by Mercedes Bryce Morgan to create a dark thriller that ends up being more of a slasher-survival romp, in which she hasn't quite been able to put a huge amount of meat onto that lake's bones!

Sage and Diego, played by Maddie Hasson (Mr Mercedes) and Marco Pigossi, turn up at a lovely house which they've rented for the weekend next to Bone Lake. It's an idyllic situation and they're looking forward immensely to their romantic getaway, during which Diego plans to 'pop the question' to Sage, ring at the ready. Diego is an aspiring writer, currently teaching to make ends meet and financially supported by Sage, who is quietly becoming a little weary of the burden.

It all gets a bit complicated when, shortly after their arrival (and an initiation ceremony on the rug), another couple turns up. Will and Cin, played by Alex Roe and Andra Nechita. It becomes apparent that there's been a double-booking by the agency. Awkward exchanges take place on the porch as they try to work out a solution. The nearest hotel is 50 miles away, so after much conversation, they figure the house is large enough for them all to have their own space. Besides, they reason that even if they went to a hotel, they’d still be amongst strangers, so they decide to press on together.

As they explore the house, they find three padlocked doors but, otherwise, everything they could need. Will is a talented cook and they have plenty of booze. We spend some time with the four of them - sometimes the two women, sometimes the two men, and sometimes the full group - as they soon realise their plan for staying separate has gone out the window and they're actually enjoying the foursome.

However, all is not quite as it seems, and it's difficult to go any further into the plot without throwing in spoilers. But that is the setup. They do discover the location is called Bone Lake for a reason - in the past, a serial killer had been dumping bodies in the water, and one day, many of them washed up on the shore! Still, the history doesn't seem to unduly spook them enough to stop enjoying their stay.

The story unfolds at a good pace as reveals emerge regarding the characters' backgrounds and the house’s secrets. It feels as though it’s intended to be something of an erotic thriller, but it doesn’t dwell on that for long - that becomes more of a side issue. There's a mounting anxiety as tension builds over the 90-minute runtime however, moving from the cosy, safe, friendly early stages into frantic thrills later on.

The four players do a decent enough job of portraying their characters convincingly, especially Hasson as the lead. The 'off the grid' setting adds to the feeling of claustrophobia, limiting escape routes for anyone wanting to flee and the direction creates a moody, dark atmosphere. The cinematography is effective too - the camera often follows characters voyeuristically through the long corridors and the exterior shots of the lakeside location are excellent.

There is some gore later on - that's as close as I'll get to spoilers - but the plot does weave through some twists and turns that you’ll probably see coming. Refreshingly, there aren’t any silly jump-scares to shatter the audience's nerves. It's a stylish, capable piece of entertainment, and I enjoyed the ride. It’s available now in the UK on several streaming services.

Friday the 13th (1980)

I remember seeing this film at the cinema in the early 80s and being thrilled and chilled by it - especially the finale, when the entire audience jumped out of their skins! I was only about twenty then, so perhaps I was more shockable or simply more open to being easily thrilled. I was certainly more forgiving of poor production values! I am sure that what I am about to write won't go down well with the dedicated fanbase!

It is now more than 45 years later, and I do think we have been spoilt by much better special effects, acting, sets, continuity and, well, pretty much everything since then. In order to appreciate and enjoy this now, you would have to be a die-hard fan of the franchise or a bit of a horror nerd. Yes, revisiting Sean S Cunningham’s slasher felt nothing like what I experienced in the cinema that day. I accept that it began one of cinema's coolest franchises, but viewing it through today's eyes reveals a production that is, frankly, falling apart at the seams. The script is diabolical and the performances wooden - it had me laughing rather than screaming!

The premise is the usual-now cliché we’ve grown to groan about. A group of dappy, spunky teenagers heads to a remote camp by a lake which, of course, has a dark and sinister past. On the way, we drop in on locals for directions, only to be met with 'sharp intakes of breath' and a stumble into the local ‘oddball’ chappie. Once they arrive, we settle down to watch frightfully chirpy American teens enjoying the freedom to do as they like - exchanging bodily fluids at will and indulging in risky behaviour without a watchful adult eye in sight. And then the chaos unfolds!

But sadly, the script is paper-thin, serving mostly as a setup for the next kill, and the dialogue is stilted and unrealistic. The characters make typically genre-dumb decisions like wandering into dark rooms, walking toward strange noises and isolating themselves at the worst possible moments for their health (though best for the story)! A 2026 audience really won't give a hoot about any of them - there's no character development and most of their roles are thankfully short-lived!

A young Kevin Bacon was horribly underused, even before his character copped it. When he actually had lines, his performance was pedestrian and anaemic. Furthermore, the whole cast seemed largely uninterested - except, perhaps, for the lead girl and Princess Di lookalike, Alice (played by Adrienne King). The rest were clearly just going through the paces for a pay packet. Apart from her, the only other convincing character was Jason’s mum, played by Betsy Palmer. She apparently admitted she only accepted the role to buy a new car! She was totally over-the-top, but she brought a sinister edge to the proceedings, talking to herself like a maniac.

Regarding the gore, the use of prosthetics was obvious. Even when actors were used for post-gore sequences, they could occasionally be seen moving! If the special effects felt realistic to us in 1980 - and from memory, they did - they have certainly not aged gracefully! The blood is a shade of bright, neon red that looks exactly like the paint it clearly was. It is a shame, as some of the kills were quite inventive - Kevin Bacon’s exit and the aforementioned mother’s end are worth a look! But it all feels like 'fun' now. Or rather, funny.

I reckon the star of the show was actually the music. The score by Harry Manfredini is nicely delivered and tries hard to create atmosphere - to compensate for the rest of the film's failings. It tries to tell you that something scary is happening, even when what we see with our eyes proves it wrong!

The film is an interesting venture but seems to have been made on a tight budget with a 'that’ll do nicely' and 'let's get it done and out' attitude toward quality. The whole Jason stuff is intriguing though - and perhaps I shall plough on to the sequels in the hope that they get better rather than worse (as we know well, they often can in the film franchise world)! I was patient, and the last twenty minutes were fun, but it isn't scary and it isn't well-made. However, it is quite funny! If you watch it on a Friday night after the pub with some mates - perhaps even on a Friday the 13th - you can have a grand time taking the piss!

The Capture (2019-2022) - A Guest Review by Adrian Brain

Season 1 of this TV Series is now streaming on the BBC iPlayer, and Season 3 is also on-air right now. Concerned by deep fake videos, almost constant video surveillance and a crumbling judicial system not fit for the 21st century? That is the subject of this excellent police procedural murder mystery.

The first season aired in 2019, where the subject matter might have seemed somewhat implausible, though watching it now it seems almost inevitable. I missed it then but have just caught up. I found it thoroughly gripping, binged it in two evenings and I'm looking forward to watching seasons 2 and 3.

I'll not go into any plot details to avoid spoilers, except to say it is set in London, involves surveillance cameras, night buses and police of varying levels of competence and honesty. The plot is constantly twisting and evolving around an event that occurs in the first episode. The audience thinks they know what has happened but as the characters uncover information, your own assumptions are cleverly undermined.

Superbly plotted, well performed with relatable (if occasionally cliched) characters, and a smattering of American glamour (Ron Perlman and Famke Janssen), this is cracking entertainment with a rather less liberal viewpoint than you might expect.

Project Hail Mary (2026) - A Guest Review by Chad Dixon

In cinemas now, this 12a film is an adaptation of the best-selling 2021 Science Fiction novel by Andy Weir, who also penned The Martian in 2011, and that became a blockbuster film in 2015. The latter is produced and directed by Phil Lord and Christopher Miller.

Ryland Grace (Ryan Gosling), wakes up from a previously-induced medical coma onboard what seems to be a ship of some kind. He immediately discovers two other, supposedly crew members dead in their stasis capsules. Shocked and being very disoriented, he then stumbles around the many-roomed craft in his scrubs and eventually discovers the large observation window. He's in outer space!

Flashback to Grace who is seen in civilian clothes as an American middle school science teacher, trying to make his class as entertaining as possible. A question is asked from one of the students, "Is the Sun dying?". He pauses and then tries to explain as simply as possible that it's been observed that something, unknown as yet, seems to be slowly eating away at our Sun, but don't worry as the best scientists in the World are on the case and things will be OK.

In reality, a solution must be found to stop the Sun's decline as it's predicted that it only has 30 years before going critical. Outside, after the school day ends, he is approached by a serious looking lady calling herself Dr Eva Stratt (Sandra Hüller). Continuing in a German accent, she says she knows that he is also a PHD molecular biologist and is aware that he has fallen out of favour in the scientific community over his initially failed research into the observed phenomena killing the Sun, now officially known as, 'Astrophages'. "Have you ever thought?" she asks, "That you may have been right, and everyone else was wrong?" He is intrigued and realises that this may be a second chance for him as a serious scientist.

Together with Dr Stratte, he is taken immediately in a government black sedan to a unknown location. Grace is given a lab and some samples of Astrophages previously collected by a space probe to see if he can figure out exactly what they are and if they can be destroyed. He eventually observes that it has a cell structure and then accidentally discovers that they multiply by being exposed to carbon dioxide. That explains why the Astrophages have been observed moving back and forth between the Sun and Venus's atmosphere. It's as part of a biological reproduction cycle, specifically to consume carbon dioxide so they can multiply efficiently.

The story then moves to a US Navy aircraft carrier, where Grace is introduced to a room full of diverse international scientists. A spokesperson then explains that further experiments that they've done with the Astrophages shows that exposing them to high-intensity infrared light turns them into pure energy, that has now ironically given the world new hope - as it will provide nearly light-speed propulsion for a project, called, 'Hail Mary', that is in development to send an interstellar mission to Tau Ceti (11.9 light-years away), which is the only star in the observed galaxy not dimming, and to see what is different there that could help us.

OK, this plot contains loads of serious science, which I personally love seeing in human-based science fiction stories, but I know it may put some off. Gosling pulls off the role of a shy, unassuming but enthusiastic molecular biologist well. Stratt is the only other human with any major screen time here and has a good supporting role. How Grace eventually ends up on the mission instead of the initially chosen, rigorously-trained NASA crew is a bit of a macguffin but it proves to be for the best. However this film's undoubted star is the alien Grace encounters when he reaches his destination. Dubbed "Rocky" due to his rock-like appearance by Grace, we eventually find out that it comes from the planet Erid. And whose triple-star system 40 Eridani is suffering the same fate as our Sun.

Using the A.I. onboard the Hail Mary, the six legged creature's language is quickly deciphered and eventually Grace forms a mutual bond as they both try to figure out what makes Tau Ceti so special. With more that half of the 2 hour 36 minute runtime spent in outer space, we get to see a lot of the NASA ship. The design and interior is impressively futuristic but still familiar. All the alien hardware really looked original but still seemed to comply with our knowledge of physics. I read that 'Rocky' himself was a multiple person operated puppet. It made the alien feel more alive so interactions with Grace felt realistic compared to a digital character. All the actual CGI rendering was flawless to my eye so I'm glad I saw those jaw-dropping visuals on one of the biggest screens in my area. I didn't think this was too long at all and there's a quirky, but satisfactory ending. So all in all I'll rate this as the best Hard Science Fiction film I've seen since 2014's 'Interstellar' and I highly recommended it any fans of Sci-Fi.

The Cleaning Lady (2018)

This is a great little low-budget chiller/thriller I found which, while containing some horrific elements, I’d probably categorise as more of a psychological thriller than straight horror. The filmmakers make the very most of their limited budget, substituting cheap thrills for genuine frights, scares and bonkers behaviour from our lead - yes, The Cleaning Lady! They deliver inventive entertainment that certainly doesn’t rely on silly jump-scares.

We get a clue as to what we’re in for in the first scene as we witness an unidentified person in a dark, grimy location grabbing three rats and putting them into a liquidiser - then collecting the resulting bloody goo in a bowl! This is the opening tease, which fits in later as the mayhem unfolds.

It actually starts as a slow-burn drama about Alice, who is in a relationship with a married man but is torn between her love for him and the need to be sensible and do the right thing for them both, as he's not leaving his wife. She attends a support group and even has a mentor who encourages her to keep away from Michael, but she struggles - much like she does with quitting smoking.

Amongst all this, Alice has a blocked bath and appeals to the manager of her apartment block to fix it. She runs a beauty business from home, so it’s vital that everything works and looks pristine. One day, she comes home to discover sounds coming from her bathroom. She goes to investigate and is confronted by a figure standing scarily bolt-upright, staring at her in silence - reminiscent of The Silence of the Lambs or an early scene from The Sixth Sense!

Eventually, the woman speaks - she has cleared the hair from the plug. This is Shelly, the maintenance person for the building. On closer inspection, it becomes clear that Shelly has a severe facial disfigurement, which she tries to hide under a baseball cap. Alice instantly feels sorry for her and treats her with kindness, offering her work as a cleaner twice a week. All seems well, even though Shelly hardly speaks and lacks social confidence.

As Alice continues to dodge the Michael situation, she and Shelly become close, forming a bond by sharing the odd meal and watching films on the telly together. Alice even teaches Shelly how to use makeup on her scars, which Shelly claims were the result of burning. Shelly, in turn, starts to feel sorry for Alice's romantic no-win situation and decides she wants to help. And we eventually find out how!

As the story progresses, we learn through flashbacks that Shelly’s scars were not the result of an accident, but rather horrific abuse by her mother placing her in terrible situations. I'll leave you to discover the extent of that yourself! We also see Shelly back in that 'garage' from the opening scene, taking the liquidised rats into a lock-up and force-feeding them to a human-looking creature she has chained up - confirming it was indeed her at the start.

You might get the impression that it’s all a bit far-fetched by now and, yes, highly unlikely as it all is, we follow Shelly as she leaps from one grisly, nasty act to another. Meanwhile, Michael’s wife smells a rat (no, not the liquidised ones!) and starts to investigate for herself into his antics, wishing later she hadn't! It then turns into complete chaos as we head for the finale and a big showdown, featuring a perhaps not-so-expected ending.

I thought the film was well-shot and directed by Jon Knautz, and the lead actresses - Alexis Kendra as Alice and Rachel Alig as Shelly - were both very convincing. It’s an interesting, atmospheric ride that is excellently paced, moving from a slow simmer to a crescendo. The timeline is clear and the reveals about Shelly’s childhood fit perfectly with the dastardly outcomes.

I wasn't sure what to expect from this 90-minute thriller, but I’m pleased I got stuck in. Low budget it might be, but they’ve squeezed every last drop of value from it. It’s available on several streaming services and even free (with ads) on Plex.

The Fallout (2021)

This film was written and directed by first-timer Megan Park and it's a gripping look at the aftermath of a school shooting in America. Rather than focusing on, or even showing, the violence itself, it depicts the mess left behind for our two main leads - the grief and the ‘survivor’s guilt’ felt by those who made it out alive.

Jenna Ortega plays Vada Cavell, a spunky, well-adjusted schoolgirl. One day, whilst at school, she drops what she's doing to take a call from her little sister, Amelia, in the toilets. Whilst there, she bumps into Mia (played by Maddie Ziegler), a popular and seemingly distant person, locked into her dancing activities.

While they are in there, the sound of screaming and gunfire erupts in the building within earshot. The two of them suddenly panic, realising what must be going on, and lock themselves into a cubicle together. They are soon joined by Quinton (played by Niles Fitch), who runs in covered in his brother’s blood. The three of them huddle together, terrified and silent, for several minutes while the shooting occurs off-screen.

The incident passes, but in the weeks following the tragedy, Vada is unable to return to normal. She becomes emotionally detached from her family - her supportive mother, dappy father and confused younger sister. However, Vada and Mia form an intense bond following that shared, panic-laden experience, becoming accidental friends. They feel they are the only ones who really understand each other.

Things go from bad to worse as Vada begins experimenting with ecstasy and alcohol to cope with her mounting anxiety. She and Mia eventually share a romantic moment, though it’s more of a desperate attempt to feel something - anything - rather than a traditional romance. While Vada's friend Nick becomes an activist for gun control, Vada feels guilty because she is stuck where she is and cannot find the strength to do anything helpful.

Vada’s repression eventually cracks and, after a series of reckless decisions and a big argument where she accidentally scares Amelia, Vada finally has a breakdown with her father. He takes her to an open field where they scream at the top of their lungs, allowing her to release some of the pent-up terror. She begins to reconnect with her family and starts seeing a therapist. She also agrees with Mia that while their bond is forever, they need to find a way to live in the real world again.

This layered film is hauntingly realistic and Ortega is powerful and convincing in the lead. It's certainly more of an emotional character study than a straight story, but it deals with a topic which seems to be more of a problem as time goes on, particularly in the 'free' West. Makes you wonder, eh. It's poignant, dark and thoughtful - and alongside Ortega, the whole cast do a great job in support.

Not showing the violence was a masterstroke, I reckon, as it gives the audience a close-up, first-hand insight into the tension, anxiety and terror that would be felt by anyone thrown into that situation. The script is great and the original score, by Finneas O'Connell (Billie Eilish's brother), is certainly worthy of inclusion. The Fallout is very much about what happens after such an event and why survivors need support.

The end of the film provides a surprise but says a lot about the situation too. How can people be expected to move on? Can they really ever get 'closure'? Or should people, as per the old-fashioned 'stiff upper lip' mentality, pull themselves together and 'get over it'? However you view that, this makes for an interesting film, even if you're only in it, at the outset, like me, to gaze upon pint-sized cutie Jenna!

Now for the bad news - it's one of those 'locked-into-America' films which is quite difficult to get hold of. It’s five years old now and has had limited release outside of the USA. You might have to resort to importing the DVD or scouring eBay, heading for a VPN, the BFI Player, Mubi or waiting for it to turn up on terrestrial TV. I wish they wouldn't do that! Let us all enjoy it easily, sooner rather than later, please!

Motorola Signature

Outside of the Razr 60 Ultra, this Signature, released in January 2026, feels to me like the first real flagship Motorola phone since the Edge 50 Ultra in 2024. I never had hands-on with that model, but I did have an Edge 50 Pro and currently still have the Edge 60 Pro - so plenty of angles and devices to compare with, even if not that Ultra. Still, it's great to have the Signature in-hand and more importantly, enjoy Moto's latest and greatest with some important landmark changes for the firm, which I'll come to later.

The RRP for the Signature in the UK at time of writing is £899. That's certainly into flagship territory and buyers paying that should rightly expect a lot - and step-up from the upper-end mid-tier phones, like the aforementioned Edge 50 and 60 Pro units. The Edge 50 Ultra on release was £1,049, so a bit more, but it did come as standard with 1TB storage. This amount is available (in some markets) on the Signature, but most supplied seem to be the 512GB version.

Having said all the above, it doesn't take long for the price of Motorola phones to come down and it's even worth looking out on Moto's website to see if there are bundles, deals and sales. Or buy second-hand. It can't be long now before those early-adopters are onto the next thing, so keep an eye on the usual outlets. But that's jumping the gun a bit really as I haven't yet discovered, nor shared with you, whether or not it's worth the hunt! Stick around then whilst I do so.

I have been able to secure the Signature in Pantone's Martini Olive colour and I do rather like it (as I'm sure fans of 007 James Bond will)! I think that I certainly prefer it to the boring 'carbon' colour - which is much more conservative and businesslike. They both, though, have the same linen/fabric/cloth back on them in their respective colours and it really is a nice feel. It's the first thing that you notice when pulling it out of the chargerless slim box. However, it is still too slippery for my hands - yours might get better grip, maybe if they are younger! As we know by now, it's all the trend not to supply chargers, be it claims of eco-friendliness or compliance with EU laws. Of course, these firms will happily sell you one! I guess that the cloth back helps to keep the phone surprisingly light, at 186g over the 50 Ultra's 197.

Alongside my Edge 60 Pro (which I'm using to do the copy/restore as it's fully-loaded, signed into everything with all my data on it), it's a little wider but all-but the same height. Physically it's a couple of millimetres taller and wider, but it doesn't look or feel it in the hand. Or look it when they lay next to each other. The Signature is certainly slimmer though at 6.9mm over the Edge 60 Pro's fatter 8.2mm. One of the things which makes it look different from the front is the Signature's more subtle quad-curved front edges. The primary benefit of this, as it was for the Honor 400 Pro, with the provided case with the bottom clear cutout (which I'll come to), is the gorgeous way in which the finger slides over the navigation button, Circle to Search, access to Recents and all those up-swipe gestures. It works like an absolute charm and until you try it, it's hard to describe the difference it makes.

The Edge 60 Pro is no waterfall, but it's clearly markedly more curved left and right. The Signature is also more 'square' in the corners, maybe for the same reason as above, than the more gently curved corners of the Edge 60 Pro. It's all quite subtle - but the Signature, in this respect, reminds me very much of the old Nokia 7 Plus from 2018. It is a big phone, there's no doubt - and I shall try hard to love it, but if anything is likely to put the kibosh on the deal, this will be it.

In the box we get a hard, plastic case with a Qi2 magnet ring on the back (for what it's worth). The case fits like a glove, gripping the edges with cutouts for anywhere that there's buttons or ports. I like this very much more than plastic-covered 'lumps' which most cheap cases now seem to have. It's nice that you can feel the buttons as they are, not through plastic, and that you can get the case on/off whilst the charging port is in use. Little things. I have one test Qi2 charger disk with a USB-C cable attached and I did plug it in and put it on the back of the case. And it works. Woopy doo, eh! I still see no reason for all this magnet stuff which Apple cooked up to sell peripherals - with the one possible exception being the dashboard of a car, for those who have one. Which I don't. I have never had any trouble sitting my phones on a Qi Charger cradle, nor struggling to make a connection. And I'm not sure why I'd want to put a wallet on the back of a phone, making it fatter. I suppose there might be a case for a powerbank to connect it to, to save having a cable - but all this magnet stuff feels like a stretch to me.

There's the usual books and papers in the box, SIM Card Tray tool and USB-C to USB-C cable ready for the 90W charger you buy from Moto for another fifty quid. Except that they don't sell 90W TurboPower chargers that I can find - only 125W or 68W. Fortunately, the USB-C to USB-C cable in the box is a 6.5A version and so will get the 90W speed if the 125W charger is purchased (otherwise it would be capped at 60W). Finding a 3rd party charger to get 90W charging is difficult - like other OEMs these days it seems, you need to really buy Moto's gear to attain it. It's all a bit complicated but yes, like I found with VOOC chargers for BBK Group phones, you really have to use their own gear to top out those speeds. I have a UGreen 100W GaN charger here - and it still will only reach 60W. Way of the world, I guess.

This unit is a single nanoSIM + eSIM unit and the suitably capped-one-side SIM Tray confirms that. Depending on region/operator/supplier your mileage may vary on this. Mine is a SIM-Free model bought directly from Lenovorola in the UK. That SIM Tray sits on the bottom of the phone to the left of the USB-C port, which is, in turn, to the left of the 'right' speaker of the stereo pair. Unusually for Moto, the other one is up top, so top-firing and not front-facing doubling up the earpiece for calls in what has become the common way. So sound fires out top and bottom. We'll come to that. Next to the 'left' speaker is the now-usual Dolby Atmos branding and a couple of microphones.

On the left side of the phone is the MotoAI button, which, again, we'll come to - and on the right, volume up/down rocker and power/assistant button. All the buttons feel firm and solid. Turning it over, we find that aforementioned cloth back and a sizeable camera island, top-left, in portrait. There are four circles on it and we'll identify their functions later. The Olive version of this phone has gold accents and that continues onto the camera island which has a kind of stripey, etched look. The gold-coloured accenting continues around the perimeter of the phone, aluminium right around, with antenna cut-outs and microphones dotted here and there. It's a classy look and though there's a risk of it coming across as 'bling', I don't think it does so because of the olive green colour toning it down into a muted, pastel shade.

In terms of ingress and robustness, the phone is rated IP68, IP69 and has the MIL-STD-810H certification. The 50 Ultra nor 50 Pro had this level of protection. The 50 Ultra did have a wooden back option, by the way, which seems to now only have been ported to the top-end Razr by choice. The front glass is also more robust than previous models, now Gorilla Glass Victus 2 instead of 1. The front panel, as I said above, is all-but flat - with those classy, subtle edges - and is an LTPO AMOLED one, over the 50 Ultra's P-OLED. One big difference for me there is that it allows for the refresh rate to drop very low and enables Moto to include a proper Always on Display, like the Edge Neo phones and Razr models, rather than the older Peek Display. The refresh rate goes all the way up to 165Hz in some gaming/selected apps that can make use of it properly - the 50 Ultra this was capped at 144Hz. And the large 6.8" screen is bright (peaking at 6,200nits), colourful and vibrant as I have come to expect from Moto. The ratio is 20:9 and pixel count 1264 x 2780, returning 446ppi.

One of the things that Moto seems to have arrived with and caught up the leading pack with now is attention to detail on OS updates for phones. I think I'm right in saying that this is the very first phone which they have promised to give 7 OS updates to (5 was previous maximum with the Edge 50 Neo and ThinkPhone 25), landing on Android 16 and going all the way to Android 23, and the same for years, for security - so presumably to January 2033, which is some stretch ahead. The Edge 50 Ultra is (and was) way behind this, like most other Moto phones, with 3 OS updates and 4 years of security. If you're reading this you probably know that Motorola has a reputation for laggy updates all-round, so we'll see how they stick to these promises.

There's been quite a hike in chipset too from the 50 Ultra which had the Snapdragon 8s Gen 3, this one now very nearly top of the current pile with the Snapdragon 8 Gen 5. We'll do some gaming later and see how it holds up. I haven't seen a 256GB version of the Signature, but apparently in some regions it is in the pile, most seem to be 512GB and either 12GB or 16GB RAM. This one has 512GB Storage and 16GB RAM. There's also a 1TB version, to match the 50 Ultra, but again, I haven't seen that in the UK yet. The storage across the board is UFS 4.1 (up from 4.0) so read/writes on internal storage are nice and fast - and, of course, there's no microSD Card support here so choose (if you can) your model carefully. I do think that 512GB really is enough for all-but real fringe users/cases.

The stereo speakers are very, very good. Not the absolute best I've heard, but up there with the impressive Razr 60 Ultra's. They are certainly very loud and the quality of output, tweaked with the included Dolby Atmos settings, is, yes, very, very good. Turn off the Dolby Atmos and wind the volume up to 100% and sure, it gets a bit less rich - and as usual with speakers on phones it sits more happily at about 80% volume. But yes, engage Dolby and 100% is fine. The soundstage is wide, compared to many, when up to 2ft away from the face - helped in no small part, I'm sure, by the aforementioned placing of the speakers, top and bottom rather than earpiece-front and bottom.

There's no 3.5mm audio-out for head/earphones of course, but actually, armed with a USB-C pair, the output is terrific and apparently the partnership with Bose and Qualcomm's SnapDragon Sound make it so. For those fed up with tripping over wires, there's Bluetooth 6.0 which, as we say time and again, is nothing short of fabulous these days. We have 24-bit High-Res and High-Res Wireless certification in the mix too and again, for those who want to tweak there's the usual version of Dolby Atmos - not quite the all-singing/dancing Sony Xperia version, but plenty to twiddle with to make the sound one's own. Paired up with my Marshall Monitor III set, Moto Buds Loop, Moto Buds+ or Sony XM4's the sound is phenomenal. But to be fair, as intimated above, it probably would be so with most phones these days with constant advancements in Bluetooth.

The battery is a Si-C 5,200mAh unit, a hike up from the 50 Ultra's non-Si-C 4,500mAh. On initial testing it feels as though it's pretty good, though not up to the performance of the Si-C 6,000mAh battery in my Edge 60 Pro. I guess that stands to reason, given that the latter has a bigger cell, more power-efficient chipset and less screen to drive, apart from any other factor. But yes, it is a shame that the same one couldn't have gone into the Signature to make it even better. First tests on my 10% Reading Test returns about two and a half hours, so not up there with the 'over 3 hour' brigade, but certainly far from bad and very usable.

My average use for me test certainly gets me well into Day 2 if needed, even with the Always On Display on 24/7. So, again not up there with the 2-into-3 days phones (think Moto's 'Power' branded units) but certainly not a problem for the vast majority of people. Don't forget that these are my tests, based on how I use my phone routinely. I have been applying this same series of tests now on all the phones I review for, well, decades - so even though they might not reflect your use and mileage, my playing field is level so I can comment about it in relation to my use of hundreds of devices over a long time.

We have, as mentioned above, 90W wired charging (with the right gear) which is a drop from the 50 Ultra's 125W but I think that once you get up into that territory, the difference is of little consequence. If you want fast wired charging, I'd suggest coughing up the £50 for Moto's 125W charger and be done with it. As for me, I'm happy with wireless Qi charging - which is does at the same 50W rate (with the right pad) as the 50 Ultra did, supports 10W reverse-wireless and unlike the 50 Ultra, even 5W reverse-wired. With the right wired charger, you can expect a full charge from flat in not much more than half an hour which, is, surely, fast enough for most!

I've left it long enough now to not talk about the killer-feature for me and the sole reason, had it not been here, that I wouldn't have bought the phone (over my Edge 60 Pro) over - yes, the Always On Display! It's hugely important for me and I'm annoyed and irritated if the phone I have is without. Motorola have, for some time been championing their Peek Display instead, which certainly has its merits, but with the arrival of the recent Razr devices, Edge Neo units and ThinkPhone 25 (which is really a rugged Edge 50 Neo), they came along. And a good one too. Bright, big, clear and always useful. I'm not sure why it's so important to me, perhaps I'm shallow (no, don't take a vote on it!), but being able to glance across the room to check the time, day, date, weather even - and notifications simply feels essential (for my use of phones). Some phones, apparently, released in other regions, did have LTPO displays giving Moto the confidence to put an AoD in (Edge 60 Pro in India is one, I believe) but UK releases (including my Edge 60 Pro), no chance. Many of these OEMs seem frightened of battery use if screen refresh-rates can't get down to 1Hz. Yes, I know, you can add an AoD app - and I have spoken about this in my quest - some very good, some not so good, some sipping battery, some caning it - but there's nothing like a built-into ROM one. So yes - I'm delighted with that. And for anyone who isn't bothered, they can turn it off! Wonderful choices in the Android world.

A Motorola with an Ultrasonic fingerprint scanner? Is this a first? I do think that it probably is - and not only for Motorola but also their 'mother' firm, Lenovo. The latter have plenty of scanners in laptops, but they're all capacitive ones as far as I know. So this really does seem to be a first for Lenovorola! And they're done it every bit as well as Samsung have been doing for years now. They got there in the end, it seems! Personally, I think I still prefer a capacitive scanner on the side or back of a phone, like the Razr, but if we're going in-glass, you can't beat this. It's clearly much better than the Optical one on the Edge 60 Neo (even though that was certainly good-enough) and takes it all up a notch. Hopefully, Ultrasonic (and AoD) will now been used more widely by Moto, even in non-flagships.

Connectivity seems as sound as a pound in my testing. Wi-Fi 7 is present again making connection to various routers perfectly good, GPS tested with various mapping and tracking services/apps and all locking quickly and holding on as expected, NFC I tested down at Tesco and it worked like a charm and Bluetooth, as I said earlier, works really well - the range seems good with my test gear too. There's UWB present too for those who can use it and also the same USB-C 3.1 Gen2, OTG, DisplayPort 1.4 as the 50 Ultra - meaning that however good wireless might be, it can be cabled up to a TV, Monitor or PC etc. to get streaming anything you like to anything you like even without a network. Including Smart Connect.

The MotoAI button is on the left side, just in the right place, not confusing the right side near to the power button (looking at you Nothing Phone)! The button can be assigned actions for press-hold and double-press. Press and hold for MotoAI (or nothing), double-press for Update me, Take notes (or nothing). You can assign the power button on the other side for MotoAI if you like, or the usual power menu or (other) digital assistant (whatever your default is). On all of these there's now a slider for press-and-hold duration preference. You can also assign Android's own Quick Launch (so double-tap the back of the phone) to anything, pretty much, including (yet) another way into MotoAI - they want us to use it! I've written about MotoAI before and I think most of it is pretty much the same since I did, so do follow this link for a rundown of the features and how it all works.

I have written about Smart Connect before (and Ready For before it) and working with a PC this is where Moto leapfrogged Samsung's DeX by continuing to support Windows software. Install Smart Connect on Windows and you have a full Desktop computing environment driven by your phone. Now, one could argue that if you've got Windows in front of you and universal tools like Motorola's Phone Link, Google's Messages for Web and Quick Share, why do you need the Windows software (in terms of productivity and functionality). And this may have been the point that Samsung got to as they claimed few people were using their Windows software. But I like Smart Connect! Long may it live, I say!

Inside this, we have a Messages portal, a Screen Share (wither Mirror or separate instance), using the phone as a webcam for webinars or whatever instead of the likely rubbish one in a laptop, creating a complete Mobile Desktop able to hijack the mouse and keyboard, using the phone as a Hotspot for getting connected, file management on the phone with hot-drag-drop, Cross Control to use other devices around the periphery of the PC with free-flowing mouse and keyboard hot-swapping between devices (like Second Screen for Windows), an echo of the photos on the phone, notifications, even app streaming - so run an app on the phone but control it on the PC - and loads more! It's a veritable playground of opportunity and I love it!

We continue to get all those good gesture functions with Moto of course, face unlock, lift to wake, 3-finger screenshot, chop-chop for torch, twist-twist for camera, sidebar with pop-outs, split-screen, pick up to silence, Attentive Display, fairly deep personalisation of fonts, icons, themes, colours, lock screen clocks, fingerprint animation, wallpaper and more. Long-press the home screen and enter a world of tweaks, personalisation, widgets and choices. It's just great to see someone continuing with the way things were, with only small adjustments for the better, not following the herd. (I'll come to that shortly!)

There is one enhancement over previous with the lock screen clocks, which used to give 3 options, but now there's 13 and each can be adjusted for font and colour as well. Moto continue their focus on privacy and security with a plethora of options, scans and adjustments. Secure folder, App lock, SIM lock, PIN pad scramble, scammer stuff, emergency alerts, eye protection stuff, Digital Wellbeing, various modes and so on. Some of this is Android's own with Android 16 but it's also clear that Moto have added their own suite as well and on top of that.

What I particularly like about the UI though, even with Android 16 onboard, is that Moto are not following the pack, like other sheep after Apple features. An annoying number of (particularly) far-east OEMs are including little features like Control Centres and dual drop-panels for Notifications, illegible battery percentage stuck inside a stupid little battery icon and a load more. Moto resist this and keep to their own design language which deserves huge kudos. Well done Moto. I do like some of what Google has done with Material 3 Expression, particularly on Pixels, but it's clear from Moto's implementation of (especially) Android 16 that OEMs can go/keep going their own way if they want to. Hurrah!

Now to my least favourite part of any review I do - the cameras! Unpopular as this might be as I know that for most tech reviewers (and possibly users) it's at the other end of the priorities list! But they often forget the 1,001 other things phones can do and only seem interested in cameras, driven by the industry's focus. Cameras that are usually outgunned in almost every department by a proper compact camera, much cheaper. Anyway, here we go! The main camera is a 50MP f/1.6 unit with OIS, it's supported by a 50MP f2.4 3x periscope optical zoom, again with OIS, a 50MP f/2 wide-angle lens with autofocus and for video it can shoot 8K@30fps, 4K@120fps and 1080p@240fps. There's a 50MP f/2 Selfie with autofocus and for video the Selfie can shoot 4K@60fps and 1080p@240fps. So that's the tech-spec out of the way!

I think that the one standout feature that I was impressed with over the array of other Camera options was the 'gimbal' type function which can be used for shake-free video recording. They call it Horizon Lock and it's designed to keep the video footage perfectly, well, nearly perfectly level even if the phone is rotated, jogged or tilted during shooting. It can be used in landscape or portrait in 4K@60fps or even 8K@30fps. It's baked directly into Moto's Camera App so available to any user of the phone. I don't think that it's on any other Moto phone yet, but yes - impressive. We shall see later this year how much, if at all, the forthcoming Honor Robot phone pulls off the same trick with a sticky-out element instead of built-in, like here. I have to say that even as someone who never shoots video these days, when I was testing it, it really is rather good and well executed.

Otherwise, the camera setup is not really that different from the 50 Ultra's - tweaks and improvements here and there. I do like the simple and clean Camera app by Moto here, as usual, offering an uncluttered view with the sliding 'row' of shooting options with 'More' at the end for less-used items. There's also an option to open up the camera in the last shooting mode rather than going back to the default each time, which is a nice touch missing from many. You can drill down into settings for loads of tweaks like those hideous watermarks (otherwise known as manufacturer adverts on every photo), digital processing of long zooms, auto-capture (like smiles/palm triggers) and more. The Pro mode lets you control most of the elements manually and in Portrait mode there's even an f-stop adjustment for aperture. It's all smoke and mirrors of course, software processing.

More on the camera app with Night Vision, which in my testing here seems to do a decent enough job for when stuck, turning apparent pitch black into at least something to see, Time lapse, long exposure, Panorama - you know the routine. The close-focus always used to be best with the wide-angle lens with autofocus on Moto phones, which it can still do here, but to be honest, for my uses, I think you get a better result now via the telephoto lens. Certainly closer, if maybe not as good quality (for those likely to use photos for anything more than social media sharing). And this is clearly what this is all about with these consumer cameras-in-phones. They know that 99% of photos taken will just be posted online and viewed on tiny screens, so it really doesn't matter much. If you want more than that, buy a camera!

In order to give you the best overview (and not to upset readers with my negativity), well, better than from me anyway, I shall do my usual trick of sending you to our friends over at GSMArena and their blow-by-blow review with samples aplenty which starts here. Do please support GSMArena as they provide great data and a relentless review cycle of anything that is released globally and in China if they can, and what's coming, as well as all the top, current industry news. The short version is that they are pretty impressed with the main cameras for stills, but think that the video could be improved. But dig in and read for yourself - or watch their review video.

So, in summary, what we have here is a true Moto flagship again, the first slab phone one since the Edge 50 Ultra. Some of the other mid-range phones in the interim have been great - but they're not flagships. This is. And it feels so. It's very fast, the battery is very good, the screen is gorgeous, there's a proper AoD, the camera setup, I'd argue, would exceed the expectation by a long way, of 98% of users, the innovative design of the back of the phone makes it unique out there, the Olive colour is lovely, it's robust and certificated for such, the AI is smart and fun to use, loads of storage, loads of RAM, 7 years of support with updates, very, very good speakers and wired audio output, the wonderful Smart Connect (even wired if needed), great connectivity, a wonderfully 'traditional' UI and even Moto's first ultrasonic fingerprint scanner that works beautifully. What's not to like, I wonder!

Well, some may not like the price at £899, but actually, given all the above, I honestly do think that's a fair price. It's a beast of a phone that pretty much does everything - and if you want to save a few pennies, yes, Moto and Lenovo often have sales - but even on launch the phone was bundled with a Moto Watch Fit, Moto Buds Loop and Moto Tag. I think the deal has now been changed to include the newer Moto Watch and oh, yes - hang on - I forgot to mention the Moto Pen Ultra! Probably because nobody seems to be able to get hold of one yet, including me! It's costs another fifty quid but it does look nifty. It's Bluetooth, comes in a sleek case, USB-C charging, can be used on the Signature or forthcoming Razr Fold, apparently has palm rejection and lets you annotate over the top of pretty much anything, I think! When I can get my hands on one I shall be sure to update my Blog here with findings.

So far, I'm loving my Signature - might even be the best Moto ever. And I've used most of them over the years! I'm unlikely to part with mine and look forward to 7 years of fun and productivity. Recommended.

The Housemaid (2025)

Directed by Paul Feig, this film is an adaptation of Freida McFadden’s novel of the same name. The story leans heavily into the 1990s-style domestic thriller. The Hand That Rocks the Cradle springs easily to mind, where the tension and action are contained almost entirely within the home.

Sydney Sweeney plays Millie, an ex-con out on parole - a fact we learn early in the tale - who is desperate for a fresh start. Living out of her car, she is struggling to find work to satisfy her parole officer and avoid being sent back to prison to serve the remainder of her sentence. She eventually lands a job as a live-in housemaid for the wealthy Winchester family. Upon arrival, she introduces herself to Nina (Amanda Seyfried), wife of Andrew. There is also a sinister-looking bloke in the garden who doesn't say much.

Nina engages Millie for the post almost on the spot. Millie is shocked to get the job, assuming her lack of references and criminal background (which she doesn't declare to Nina) would disqualify her. On her first day, Nina introduces Millie to her daughter and husband, announcing that Millie will be moving in. Andrew clearly knows nothing about this but, appearing surprised, goes along with the decision. An immediate chemistry between Andrew and Millie is laid out for the viewers to soak up!

Once she moves in, Millie begins her duties, which include helping to look after the spoilt-brat daughter, Cece. Millie's room is in the attic - a secret space that Nina claims used to be Andrew’s storeroom. Millie tries to open the only window, but it won’t budge. Almost immediately, we see Nina behaving erratically - shouting, screaming and threateningly blaming Millie for things she hasn't done. Andrew eventually calms her down and apologises to Millie. After finding a hoard of prescription medication bottles in the bathroom cabinet, Millie begins to see Andrew as the peacemaker. One day, when Nina fires Millie in a fit of rage, Andrew mediates and tidies up the mess.

Partway through the film, after focusing primarily on Millie, the emphasis switches to Nina, and we begin to learn about her background. Then it is Andrew’s turn, as his domineering mother arrives to ensure he knows his place within the family and its wealth. The rest of the plot is difficult to discuss without spoiling the numerous twists and turns, but it is a neat enough ride. It possesses all the elements of a decent thriller, keeping the viewer focussed for the duration of its two-hour runtime.

As you will have gathered by now, this is a story of victims and villains, survivors, tragedy and abuse. Some elements are somewhat predictable as the tale unfolds. I felt that the character of Andrew’s mother could have been utilised more effectively, but generally, the characters remain solid. Apparently, in the book, Andrew's mother is far creepier than she is portrayed here. There's a couple of steamy sex scenes in the mix, as you'd expect with Sweeney in the cast!

Seyfried captures that fragile-but-calculating element very well, while Sweeney plays the desperate but dangerous role slightly less convincingly - but decently enough. Ultimately, it is a mystery-shrouded thriller that relies heavily on a house with dark secrets to tell. It is violent and bloody in places, but the real focus is on determining who is who, what roles they are playing beneath the surface - and unpicking the plot before it is served up to you. Which you probably will! All good fun and it's now starting to arrive on streaming services in the UK.

Father Mother Sister Brother (2025)

This Jim Jarmusch (Paterson, Only Lovers Left Alive) film is (apparently) a 'triptych' entitled Father, Mother and Sister Brother. Each set in a different country and exploring the idea that we never truly know who our parents are, or were, before we existed, or even now. It feels like pure arthouse to me and is conducted with the mellow, lazy pace of the brilliant Paterson (which, as a bonus alongside Adam Driver, featured a great performance by Golshifteh Farahani and is a must-watch). So, three parts, three stories, with some overlaid common themes - think Kieślowski’s Three Colours trilogy.

The first part, 'Father', takes place in New Jersey, USA. Siblings Jeff (Adam Driver) and Emily (Mayim Bialik) visit their reclusive, dishevelled father (played by Tom Waits). They worry that he is hard up for cash, depressed, and isolated - especially since their mother died. Jeff, clearly wealthy, slips him money and brings expensive groceries against the wishes of his sister, who looks on disapprovingly. Prior to their arrival, however, we see the father purposefully making the place look chaotic and untidy.

Next, we're off to Dublin, where romance novelist 'Mother', played by Charlotte Rampling, is preparing for a visit from her two daughters, Timothea (Cate Blanchett) and Lilith (Vicky Krieps). This seems to be an annual ritual involving a frightfully upper-class afternoon tea. There is a real, loving warmth between the two sisters, but with the mother, the atmosphere is cold and intellectual. Lilith is a wild, free spirit in a relationship with another woman which she actively hides, even lying about her career success. Timothea is the 'upstanding' daughter and receives more respect, but they all essentially hide their true selves behind etiquette.

Lastly, we head to Paris for 'Sister Brother', the warmest segment of the three. Twins Skye (Indya Moore) and Billy (Luka Sabbat) reunite at their parents' apartment after they die in a plane crash. As they clear out belongings, they discover there was much about their parents they did not know. While the first two stories are awkwardly stiff, the absence of parents here brings a sense of closeness and kindness between the twins.

As I mentioned, there are themes running through the film. For example, Rolex watches. Father claimed his was a fake, but Emily knew it wasn't. Lilith claimed hers was real, but then exposed herself as a fake. There are skateboarders in every story - young men, possibly depicting freedom in contrast to the masks worn by our characters trying to project/deny success or poverty. There is also the recurring question of whether a 'toast' can be proposed with water or tea as opposed to alcohol, as if nobody truly knows the 'rules of engagement' with one another. It certainly brings to mind the lamps, pens and little old ladies' bottles of Kieślowski.

I didn't realise that Jarmusch was a musician with a band, SQÜRL. Here, he collaborates with Anika (Annika Henderson) to create the score. The atmosphere of the final segment is heavily influenced by her post-punk, avant-garde style, which fits the arthouse vibe perfectly. Driver, Waits, and Blanchett are as solid as ever, though not really stretched. It is nice to see Mayim Bialik outside of The Big Bang Theory and Moore and Sabbat provide the required warmth for the final act. However, I think Charlotte Rampling steals the show - her performance is simply perfect.

It’s a laid-back film that makes poignant points about life. The long pauses between dialogue reflect the distance between people who don't truly know each other. It is a beautifully told story in three parts. You might have different takeaways, but this is what I grabbed. Treat yourself and watch it when you can.

War Machine (2026) - A Guest Review by Chad Dixon

This Netflix film is a Predator-inspired military action drama directed by Patrick Hughes. It stars Alan Ritchson (known mainly for the Reacher TV series) as a no-name US Army Staff Sergeant whom we first see during the Afghanistan conflict when his small convoy of engineers comes to help a friendly platoon and fix its broken-down vehicle. We soon see that the head of that group is his brother, played by Jai Courtney, whose name is also not spoken.

As Ritchson finishes off the repair, the two talk of their mutual wish to become US Rangers and vie to join RASP (the Ranger Assessment and Selection Programme) together as soon as the current conflict is over. As Ritchson returns to his vehicle, a direct Taliban missile strike hits both convoys and there is a big conflagration. Later, he comes to with an injured right knee and sees destroyed vehicles and burnt bodies all around. He hobbles towards his brother's inert body and finds him alive - barely.

Cut to two years later and we see the Staff Sergeant in a parade of mainly younger Ranger candidates on the first day of their eight-week programme at RASP. He is given the designation "81" by First Sergeant Torres (Esai Morales) who, with the camp's Sergeant Major Sheridan (Dennis Quaid), gives the assembled candidates a stern speech regarding what is expected of them to complete the assessment and become a United States Ranger.

Cue the usual training montage where 81 - who at 6'3" and built like a human tank towers over the majority of his co-candidates - consistently outdoes them but stays aloof during meals and downtime. At night, and occasionally during particularly gruelling trials, he still has harrowing flashbacks to when he and his brother were attacked in Afghanistan. This plays on his mental health. Also, intermittently, we see reports on the TV news of an asteroid that has entered the inner solar system and seems to be behaving quite oddly compared to previous extrasolar objects, as it appears to be getting closer to Earth.

As the remaining candidates go on their final assessment mission in the mountains of Colorado, the camp commanders put 81 in charge of the group (against their better judgement due to his previous PTSD) because he has been, head and shoulders, the top-rated individual. After an arduous hike in full gear to the high-altitude checkpoint where their timed mission begins, the battalion encounters what they think is an abandoned prototype tank lying next to a stream. Thinking it is the target objective, they set explosive charges and withdraw; however, after the "FIRE IN THE HOLE!" explosion, it is observed that there is no apparent damage to its armour plating. The "tank" starts to move, transmuting into a walking multi-weapons platform, and angular, ominous red lights appear. The soldiers are temporarily transfixed before it starts to scan them with a broad laser beam. They agree it is time to RUN!

The initial establishment of the main protagonists (of whom we don't really get to know many) seems quite long, but actually only takes up the first 25 minutes of this film's 1-hour 47-minute runtime. There are some memorable faces amongst the younger candidates, including a couple of capable female soldiers who, thankfully, do not get special treatment. Otherwise, the performances are unremarkable and typical for this trope.

As said at the beginning, this is obviously another iteration of the classic Predator (1987) story, just set in different terrain and with a much bigger and deadlier antagonistic opponent. Ritchson is decent and does command the screen with his beefy silhouette, but he is not a patch on Schwarzenegger in his prime action-hero era. Quaid and Morales are really just cameos and have minimal lines, but look decently authentic in military fatigues.

I read that the director, Patrick Hughes, tried to use real locations as much as possible to convey the raw jeopardy of the situation without much green-screen. When we head into the second act - which is why we are really here - the action really ramps up and it is hard to catch one's breath. Although there is no official BBFC certificate for this so far, I would say the blood and dramatic dismemberment of some individuals may be challenging for some viewers. However, there isn't too much of that.

The CGI War Machine itself is as good as anything I have seen rendered on screen so far and looked adequately menacing in the mountainous surroundings. The extra ending did seem to be a bit pointless - unless there is a sequel in the pipeline already. All in all, I did not really mind this unoriginal story, as it looks good, was acted satisfactorily and is just about the right length. But I know it won't be everybody's cup of tea.