Chained (2012)

Time for a horrific thriller/chiller again and one I missed from some years back by director Jennifer Lynch (Boxing Helena), daughter of David. It's a brutal, nasty film which depicts the screwed up life of Bob the taxi driver, who, abused by his father in childhood, takes out his revenge on randomly selected women he picks up and traps in his taxi. Strap in!

He takes the women to his house, does unspeakable things to them, kills them and buries their bodies neatly in rows under the house. We join the tale as a woman, played by Julia Ormond (Smilla's Sense of Snow, Gold Digger), is the next victim but also has her son with her, thus making a departure from Bob's usual MO.

In a strange turn of events, having killed the boy's mother, Bob decides to lock up the 9 year-old boy (who he dubs Rabbit) as his slave in the house, doing all his housework, mopping up after his grizzly crimes and generally waiting on Bob hand and foot. Over time, Bob starts to warm to the boy, educates him, talks about his future positively - in and amongst Rabbit witnessing what Bob is doing to these females. We leap in time some years and Rabbit is an older teenager, Bob is slowing down, and it looks like he's grooming Rabbit to take over his 'work'.

It's deeply disturbing as an story idea. I couldn't quite work out why I was sticking with it really because at some stages it becomes slow and most odd, to say the least. Very Lynch family, I guess. Vincent D'Onofrio (Men in Black, Dying Young) plays Bob with apparent chilling ease and the older Rabbit played by Eamon Farren (The Dig, Winchester) matches him as the oddball victim.

It's not really a film to enjoy, rather stare open-mouthed at what's being depicted and what's going on between these screwed-up characters. Having said that, much of the violence is conducted behind closed doors away from the camera, making use of suspense and suggestion. I guess it is a horror film really but not in any traditional 'dracula' kind of way - more nasty, dark and sinister. It can't be denied that it's interesting though and for those fans of the Lynch family's work, compelling.

Damsel (2024)

Not quite sure why I watched this Disney-style dark fantasy, fire-breathing dragon, prince/princess kingdom type film - but I did! And I was willing to give it up as a daft kid's romp, but I really rather enjoyed it and surprised myself by sticking around until the end.

Millie Bobby Brown in the lead was most engaging, Ray Winstone was, well, Ray Winstone, and a great time was had by all as one kingdom's family is duped by another. One needing money for their crumbling empire, the other needing a bride to feed to the dragon who needed appeasing for some dubious prior debt. Though of course Kingdom 2 doesn't reveal that part of the deal until later!

It then becomes a survival adventure as the goodies try to escape the beast whilst teaching the baddies a lesson or two and Princess Elodie turns into Lara Croft!

Very nicely animated, often quite dark, elements of mystery, feel-good and revenge, but the main attraction is certainly the adventure. You might like it! The family certainly will.

The Zone of Interest (2023)

The Zone of Interest is a snapshot of the life and crimes during World War II of Rudolf Höss, who was in charge of the Auschwitz concentration camp within German-occupied Poland. He commanded the camp for the longest time and we join his reign during 1943 when Hitler and his seniors had considered him to be hugely successful in furthering the aims of the war by his actions there against the Jewish people.

The film focuses mostly, however, on Höss the family man, married to Hedwig, living with their 5 children just outside the walls of the camp. So well considered was he that the family wanted for nothing and lived a life of plenty, in a house specially built for them. The film is presented in near-documentary style with fly-on-the-wall cameras set around the house and gardens as we observe the apparently ordinary lifestyle of the family through daily routines.

We never go inside the camp, but are often subjected to the sounds of what's going on beyond the family's walls as Höss disappears into work each day to carry out his brutal activities slaughtering thousands of people. It is estimated that he was ultimately responsible for around 3 million deaths in the torture chambers - at then end of the film, we get to see some footage of Höss as he was captured, tried and hanged in 1947 and some facts about his horrific behaviour. Hedwig claimed that she knew nothing of the dreadful activities of her husband and was allowed to live.

The house was full of people serving the family, from the local Polish people and others from inside the camp. We are witness to the intolerant ways in which the various family members treat them when things go wrong here and there, on a domestic level. Hedwig loves her house, her family and only wants to make a perfect life for them. So much so that when Höss is promoted, with duties away from home, she insists on the family staying there and awaiting his return.

We mostly see Höss in his domestic situation, not always getting his own way as he clearly does at work, but a somewhat timid, at times, family man who, like his wife, will do anything to ensure that his family are catered for and who always come first. But can she really have had no idea about what goes on behind the walls, led by her husband? The constant smell of burning, smoke rising, sounds of abuse and torture, screaming and misery are clear for her to hear, though amongst that we observe her going about her privileged life, apparently ignoring them. Perhaps not hearing, though willing to benefit from the treasures confiscated from wealthy Jewish people in the camp.

This adaptation of Martin Amis' book is not an easy watch, in fact it's hugely disturbing and chilling, though its approached from a very different angle by director Jonathan Glazer (Under the Skin) than most of what has gone before depicting WWII - and one which will linger in the memory for longer. One reason for that is the chilling performances of the two leads, Christian Friedel (13 Minutes) and Sandra Hüller (Anatomy of a Fall) as Rudolf and Hedwig Höss. They both grasp the roles with convincing dedication, making this somewhat clinical style of adaptation and filming come to life. Watch it also for the use of the aforementioned sound, but also silence used in suspense as the audience wonders what horrors will be heard next.

Sony Xperia 5 Mk.V

Sony evolve their design for Xperia smartphones, a little like others have begun to do these days, including Samsung. Exciting leaps and changes seem to be a thing of a decade ago, making way for a settled, consistent look/feel for manufacturers' hardware. This can be argued as a good thing of course, encouraging people not to change their device as soon, so eco-friendly, a result of much marketing research and feedback, but also, for people who review phones, less spills and thrills to highlight and focus on!

For those like me who prefer the smaller smartphone with true one-handed use available without fancy software screen-shrinking modes, the Xperia 5-series is certainly a contender - and for those who simply value the Sony brand and quality equipment, there's no choice. As we'll find out later, some of the advantages the 1-Series have now been implemented very effectively in the latest 5-Series too, so fewer compromises than last year, for sure.

I have my trusty Sony Xperia 5 Mk.IV here to compare these two units, the Mk.V having been sent over by SonyUK PR for us to look at and assess here at PSC Towers. My colleague Steve Litchfield has already had a look in his YouTube Shorts coverage, which can be tracked down in his channel there. We're both big fans of what Sony are doing, that nobody else seems to be (at least in the flagship space) and are always happy to look at new releases, small changes as they might have.

The Sony Xperia 5 Mk.V was released in September 2023, a year after my Mk.IV, so it'll be interesting to see how far those (small) changes go. The box is pretty much the same as it was the previous year, small, eco-friendly and with nothing inside it apart from the phone and a few legal papers. Bring your own charger, cable, earphones, the lot - a far cry from the days of old. Fortunately I have all of those so can get up and running in no time!

The first thing that strikes me compared to my Mk.IV is that it's fatter. Thicker. Technically, it's only 0.4mm but it a remarkable change in the hand and holding my older phone, I really prefer the dimensions of the elder. The Mk.IV is sleeker, with the same battery, and feels much more friendly, somehow, in the hand. Don't get me wrong, the Mk.V is also very dinky and someone coming to it without a Mk.IV in the other hand would think nothing more than how cute and small it is, compared to the giants most are used to, as time goes on.

The extra thickness comes from a new level of 'ridge' on the edges, which is much more minimalist with the older unit. It's not really a problem, it's just slightly fatter. The other dimensions are very similar to the old. Laying that aside, the blue coloured unit I have here is equally as premium in look/feel/design as the older phone, just a bit different. I do much prefer the look of this blue colour over my black older one. The buttons are all in exactly the same places, including that unique camera shutter button and the Corning Gorilla Glass upgraded from Victus to Victus 2 for better scratch/smash protection, sandwiching the aluminium frame. Added to this we retain the IP65/IP68 water/dust rating, which is excellent.

The NFC logo has gone from the back glass and the camera island now houses two lenses instead of one, which we'll come to later, but otherwise this side is equally pleasing - if not more so. We continue with the fingernail-eject SIM Card/microSD Card tray on the bottom, along with the USB-C port and 3.5mm audio-out socket up top. Yay! Depending on your region, you can expect a Dual Sim set up and/or nanoSIM and eSIM. Dual physical SIMs will clearly mean that there's no space for the microSD Card, as it's on the flip-side.

The flat, front panel is the same OLED one, both phones displaying a super bright, colourful and vibrant output. They are 6.1" screens, 1080p, producing 449ppi, refreshing at up to 120Hz and that signature 21:9 cinemagraphic aspect ratio. Tall, yes, but in landscape for compliant media, unbeatable. No complaints about the screen, then, the same as last year's with all the Sony smarts thrown in as mentioned in my previous review such as Creator Mode, BT.2020 gamut and 10-bit HDR for great colours and brightness. Again, no complaints, but pretty much the same as before - chin and forehead which others try to eradicate, perfectly alright by me. Perhaps it's the same panel with the same software.

Sony remain tight-lipped about how long they will support their phones with OS updates and security. Now and then there's a leaked conversation I stumble on via some Sony Rep. or other at some show or other who says this or that about it, but like Motorola to some degree, they don't seem to have a hard and fast policy for people to hold them to. What appears to be happening is that the Xperia devices get 2 OS updates and 3 years of security, which is a really poor show when others are now offering 4 and 5, 5 and 7 and even 7 and 8. These are not cheap phones and Sony really should do better than this. But then I guess they figure they don't need to as they have a small but dedicated (and apparently wealthy) fanbase who will upgrade their hardware with Sony before it becomes an issue.

The Mk.IV arrived with Android 12, has now updated to 13 and 14, so I'm not expecting more. It is now in the 3rd year of getting security updates, which, so far, it is. Promptly. So the expectation for the Mk.V will be that as it arrived on Android 13, it will get 14 and 15, then security updates to autumn 2026. Fingers crossed, don't hold your breath for more.

What we do have here is the latest (at the time of release) SnapDragon chipset, 8 Gen 2, against the 8 Gen 1 of last year's model. The more recent processor as seen on other devices has a reputation for super battery efficiency over last year's and that does indeed come to fruition here with even longer run and standby times than the Mk.IV. The Mk.IV was excellent already, but this, even better. Unless you're watching YouTube videos all day, a videographer, musician or photographer, caning the device, there's very little chance of not getting to the end of a long day with it. In fact, for my middling use, it's a two-day phone, no question.

It has the same battery, too, making all this even more impressive. It's the same 5000mAh unit which they somehow stuff into the small frame alongside all the other hardware. I have got two and a half to three hours of screen-on time during my 10% Reading Test, which is pretty much up there with the best. Sony thankfully continue with Qi Wireless Charging (and reverse too, if you need it), slow as it may be, at least it's there - perfectly fine for overnight/bedstand, and also 30W wired charging, good to half-fill the battery in an half-hour. So not the fastest charging facilities in the world, but certainly good enough, particularly with that long-lasting battery to begin with.

There were many complaints about the phone/battery heating up during load with Xperia phones and to some degree that is true - when pushed with gaming, setup installation of over 100 apps or shooting video for extended times, it certainly can get warm, but like the previous models, I really don't think this is a huge issue. Some were seeing throttling during gaming, slowdown inefficiencies, but I can't say that I have. Maybe I don't play games that are demanding enough, in a very hot country, to make it happen, but it all feels within normal bounds for me.

The car racing games that I have tried here run beautifully smoothly, not a hitch, jutter or stutter. The Game Enhancer software from last year is present with swipe-in controls and information during play, Dynamic Vibration kicks in as needed and the whole experience is immersive and entertaining. The phone has 8GB RAM to support multiple tasks and does so very smoothly, again, nothing's changed with that - and sadly something else has not changed... The 128GB Storage onboard. I really thought they'd match the 1-Series and up that to 256GB this year, but no. There is, apparently, a 256GB version in the Japanese market, but I've never actually seen one for sale anywhere in the west.

Anyway, with a microSD Card (support up 512GB - and I've tried a quality-make 1TB one which it won't play ball with, even after much support/discussion/formatting etc.) the user can get plenty of additional storage - but there's nothing like fast, onboard storage in my opinion. Samsung, at time of writing, have announced a super-fast microSD Card coming soon, so maybe that will help. I constantly have a problem with microSD Cards during setup with Google Photos - it hunts and hunts to set up for days-on-end as it appears to be reading (very slowly) the whole card. I have now learnt to remove the SD Card during setup of the phone, get it all done, especially Google Photos, then put the card in after. It seems to work that way much better. I'm not saying this is Sony's fault - more likely Google's software.

Talking of software, again, there's between little and no difference between the two devices in this respect. Everything seems to work exactly the same, the two or three pre-installed, unremovable apps/services are baked in (thanks Sony!) and have to be Force Stopped/Disabled - I still fail to see why they have to do this at this price-point - the same suite of Sony's add-on applications - Photography Pro, Cinema Pro, Videography Pro and Music Pro, same launcher, front-end, UI and so on.

The same missing features that we have come to expect by now, like Face Unlock, Lift to Wake, Double Tap to Wake - why do Sony continue to miss out the basics that everyone else is including in order to make the Android experience more attractive to use, I wonder. To top it all, comparing with my Mk.IV, they've also now stripped out the LED Notification light from the top of the front display and re-worked the Always on Display so that it no longer shows AlbumArt - a distinctive and uniquely Sony feature all this time. This can't be blamed on Android 14 either, because it's still working (though in a diminished refreshing capacity) on my Mk.IV which is now also on Android 14. Shocking. Put it back as it was Sony!

Moving away from the negative bits, the version of Android is indeed very 'vanilla' just like Google's older implementation and somewhat akin to AndroidOne (where that survives now - mostly with Nokia phones), so that's a good thing. As I say, some of their own software has been added to support their hardware features, which is fair enough - nay, required - but it doesn't get in the way of what Google offers for the platform. There's no needless doubling-up of core applications - they're all Google's, and what you generally get is a clean experience without everything being bogged down with bloat or background activity.

Similarly, the ongoing inclusion of the hardware camera shutter button is great. Makes it much more like a camera-user's experience and I'm sure that's the idea, with lots of crossover to Alpha camera functionality making their imaging customers right at home. The side-mounted, capacitive fingerprint scanner is just about perfect. Right technology. Right place. Right size. It just works. First time, every time.

One thing that has changed since last year's model is the output from the speakers. Whether that's hardware of software I don't know but the speakers' output is now right up there with the 1-Series Xperia phones. Up until this 5th Generation, there was a difference - the 1-Series was always a step ahead - but now, not. They are just as good and give out the same excellent sound, volume and quality, as their bigger brother's. Same is true of the Dynamic Vibration which I mentioned earlier in relation to gaming. Right up there with the 1-Series, up to now, always coming in second-best in the Xperia line. The sound and DV was still very good on the 5-Series, don't get me wrong, but now, no longer slightly behind.

The audio experience is excellent all round and, along with the cameras, this is clearly what Sony are after in the Xperia line. Some other phones might be louder, but they don't have the fine-tuned quality that these Sony devices have (and certainly don't have DV). Put up against any test device I have here, Dolby Atmos engaged or not, 360 Reality Audio/Upmix tinkered with or not, DSEE/AI dabbled with or not, it comes out tops for all but those wanting a bit more volume. I'd trade volume for quality every time. Playing music or using the 21:9 for video, front-facing stereo speakers, DV engaged, wide stereo, makes for a much better watching/listening experience than any other phone on the planet!

Then there's Bluetooth v5.3 and Sony's excellent headphone/speaker support with LDAC and/or 3.5mm audio-out for a cabled-up set with 24-bit High-Res audio. Paired up (in both senses of the phrase) with my Sony WH-1000XM4 headset and the sound, functionality and overall experience is second-to-none. A deep-rooted voyage into the world of Sony audio and it's very impressive indeed. Same is true for peripheral speakers - you just seem to get the most out of all this if you use their own gear. Of course, it works with other hardware and Sony's supporting Headphones App is available for any smartphone, but it feels to me as though with their own combination of gear, it's just the best. But then I'm a long-time Sony fan, so would say that!

Connectivity seems to be as good as the Mk.IV was with all aerials connecting efficiently and holding on when needed. GPS with mapping and other apps/services, WiFi (6e for those who can get it) is solid, NFC for connecting to other gear is spot on (especially other Sony gear) and executing payments at terminals and so forth - all good, strong and confidence-inducing. I was pleased to see that the USB-C 3.2 OTG continues to support HDMI-out to other screens. It maybe not be Samsung's DeX or Motorola's Ready For, but it allow the user to send media to bigger screens on other devices as well as hook into the Alpha system for use with other photographic gear.

Next, we come to photography and Sony's main emphasis, as mentioned earlier, appealing to the owners and fans of their Alpha line of 'proper' cameras. They will feel right at home here, as they did with last year's model, but this time they've taken away one of the cameras from the mix! Last year we had three 12MP sensors (normal, telephoto and wide-angle) and this time, two - a 48MP f1.9 main shooter with OIS and a 12MP f2.2 wide-angle. Sony claim that with their new sensor tech, the results are better, not worse, even though that 2.5x zoom has gone. Cropping in on the more powerful sensor produces even better results.

To prove all this I'm going to link out to my colleague's YouTube Shorts again as Steve trails through the ins and out of how that works and how impressed he is. Imaging Examples, Who Needs a Telephoto? and GSMArena for a deep-dive, charts, comparisons and data starting here and continuing through to those specialist apps and services, Photography Pro, Cinema Pro and Videography Pro. Otherwise not huge changes including the ongoing use of Zeiss optics with T* lens coating and a 12MP f2 Selfie. All who have reviewed agree that the Xperia line remains niche and special in the world of creating photos and video, also support for musicians with the Music Pro app, which I spoke about in my previous review and doesn't appear to have changed. The recording of multi-layered audio is still capped at 10 minutes per event. I was hoping that this would be extended/lifted this year so us podcasters could get in on the action.

The phone is available in black, blue or platinum silver, costs currently £799 - which is actually a £100 drop since the previous model. People are reflecting on the notion that Sony were trying hard to place the 5-series somewhere more like in the middle of the flagship 5-series and mid-range 10-series and that drop does pretty much that. So yes, a little bit more financially accessible for more people, though still 'premium' pricing.

It's a super little device which sits in a kind of niche place in the smartphone world. Dinky, small, one-handed use, pocketable - the number of devices in this range seems to reduce as we go forward - and that's a shame. So kudos to Sony and the other few who keep that alive. It continues to feel like a 'specialist' smartphone, designed very clearly for the creator crowd, Alpha hardware users (even maybe some professionals when they don't have their pro gear with them), musicians and photographers who are happy to spend more time treating their phone like a 'proper' camera in order to retain control and create images/video/music in a way no other smartphone seems to match.

It's all very impressive. It may not be a huge update from last year's model, and I don't feel the need personally to upgrade this year, but no doubt many will and I could well join the band when the Mk.VI arrives, presumably this autumn.

Very highly recommended for the right user, who appreciated good audio - but not the point-and-shoot AI-driven camera brigade - they will be better served elsewhere, but good luck finding all that in such a classy, small and beautifully made device.

Alice and Jack (2023)

Anyone seen this Channel 4 drama? I stumbled into it and got hooked pretty quickly as we accompany the two characters through 15 years of their up/down relationship during the 6 x 45-minute episodes.

Alice is a dreadful person at the outset, in lots of ways, damaged by her past, but out dating anyway (for sex). She has a successful job but few friends, as she's like she is. Keeping real life at a distance and treating those around her fairly abusively. Along comes Jack, via a dating app, and her chance to change all that is rotten about her.

Jack is a research scientist and deeply engaged with his work, trying to make the world a better place for those suffering with illness and disease. He's a man with a soft heart and prime candidate for Alice to destroy, break the heart of. But there's a chemistry going on from the start which will, or won't, overcome the usual Alice-style approach to life and commitment to anything outside of her bubble.

The series takes us through a long passage of time (in which, incidentally, they don't seem to really age much)! Alice disappears from his life at various points for lengths of time and we pick up the story again later. During one of these periods, Jack gives up on her, meets Lynn, gets married, has child (though not in that order)! This complicates the whole issue in relation to Alice when she pops up again.

The whole series sweeps the viewer between emotions, it's hugely moving in parts, particularly towards the end when events transpire to challenge the pair even more, those with whom they are involved (especially his daughter), the wealth and health issues which follow and eventual outcomes.

Domhnall Gleeson (Ex_Machina, The Revenant, Brooklyn) is excellent in the lead alongside Andrea Riseborough (Oblivion, The Electrical Life of Louis Wain, Shepherds and Butchers) as they both ensnare the viewer, well, this one, anyway, not letting go until the last frame of the last episode. The deep roots of their underlying strangely-enacted love and devotion for each other, often destroyed by life events both present and previous, are portrayed beautifully by them and it was also great to see Aisling Bea (Trollied, This Way Up, Love Wedding Repeat) pop up again as his wife, doing equally well with her lesser role.

It's a super little heavily-Irish casted drama which often tugs on the heartstrings, is smartly written and intelligent, never soppy but hugely engaging, the time flying through each episode. Watch it for excellent core performances (along with other Brit actors doing great jobs) but be in the mood for a moving, quirky but emotional tale. And detesting Alice for the first half of it!

What Happened to Monday (2017)

Norwegian writer director Tommy Wirkola was in charge of this project following some violent fun previously with the likes of Dead Snow (and Dead Snow 2: Red vs Dead), Violent Night and Hansel & Gretel: Witch Hunters, but if you don't like that genre, don't be put off of watching this outing, which is much more a Sci-Fi action film and well worth your time.

The star of the show is Noomi Rapace (Black Crab, You Won't Be Alone, Stockholm, The Secrets We Keep) who plays 7 roles in the film! That's right, and this forms the basis of the Sci-Fi bit as we join the story in two eras, 2043 and 2073. In the former, we're shown glimpses of a world where human overpopulation of earth is using up all the planet's resources far too quickly, so the authorities clamp down allowing only one child per couple/family. Woe betide anyone stepping outside of this regulation!

Those who do so, have their subsequent offspring taken away, the authorities setting up cryogenics chambers so that the kids can be brought back at a later date when things have settled back on earth to an equilibrium. These measures are enforced by military means as squads of professionals infiltrate the population with a green card to pretty much do what they like to enforce it and have set up digital check-points all over the place.

Anyway, back to Noomi's characters' tale and we witness 7 identical little girls being looked after in an apartment by their grandfather, played by Willem Dafoe (Inside, Poor Things, Tom & Viv, Nightmare Alley), teaching them the dangers of being caught and learning survival skills to use if and when they are exposed. By the way, the reason everyone is having multiple births like this is because the genetically modified food that scientists are creating to combat the population problem has that as a side-effect - all pregnancies produce big litters!

Grandfather disappears as we leap 30 years forward and now spend time with the Seven Sisters (which, incidentally, was the original title of this film) named after the days of the week. Out in public, at work, facing other people, they assume the name of their mother (Karen Settman) who, incidentally, died during the birthing of the kids. There's no mention of the father, I don't think. So each day, one of them goes out, dressed up to look the same, so each of them gets freedom from the apartment one day per week. They have to share their day with each other at the end of it so as to make sure the other 6 don't get caught out not knowing something from the days when it's not their turn. Keeping up at the back?!

One day, Monday goes out to work and doesn't come back. Then Tuesday goes to find her the next day and here begins the thriller bit with plenty of action as the authorities appear to have worked out what's going on. Throw in an officer who seems to have fallen in love with (at least) one of them, willing to bend the rules in his personal quest, a nasty politician, played menacingly by Glenn Close, seeking re-election by fair means or foul, a nasty bloke at the head of our hit-squad in focus and it turns somewhat into a bit of a thrill-ride!

This is very much the Noomi Show with her in the 7 roles in pretty much every scene. It's edge of the seat stuff often and she holds the film together in a fabulous performance. The special effects are pretty much seamless when time and again, we're in amongst the 7 sisters and they are all interacting together. Beautifully executed and shot. Close and Dafoe are really not in it very much at all, but what they do, as we'd expect, they do very well.

It's a great idea for a story which could easily have become a bit daft in the wrong hands, but production values are high and what we've ended up with is a real cracker of a thriller which nobody'll nod off in, during the 2 hour runtime. Yes, there are plot-holes for those looking for them, but for the rest of us it's great fun, totally absorbing and engaging. Highly recommended.

PodHubUK Podcasts for the Month of February 2024

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

Phones Show Chat

Episode 787 - More Duos, More Flips and a Nexus
Saturday 3rd February
Steve and I bang on about the stuff we like at great length 😂 So yes, another catch-up show as we continue to swap hardware and yarns!

Tech Addicts Podcast
Tuck, Fold and Roll
Sunday 4th February
Gareth and I are back, looking at the Fold and Roll phone, Samsung and Sony's Money, Rugged Phones from Samsung, the Demise of Bullitt, Fossil Calling Time on Smartwatches, Microsoft Making Too Much Money, Ash Tray Designs, Microsoft Edge Being Dodgy, Ayaneo Flip Impressing with Dual Screens, MSI Claw Pricing, ImageFX Rolling Out Slowly, Chromebooks with 16GB RAM and Exciting New Zoom Audio Recorders. All the fun of the fair! Do join us!

Projector Room
Episode 156 - Gorky's Griselda
Wednesday 7th February
Allan, Gareth and I are here again with our fortnightly roundup of all things film, cinema and TV. This time we Treat on Lee Marvin, grizzle for more Griselda, call an Ambulance with The Family Plan during The Night of the Virgin, work out the Primer Anatomy of a Fall and even shout out for Loudermilk! Plus oodles more, so do join us!

Phones Show Chat
Episode 788 - Just Clip on a Stylus
Saturday 10th February
Ben Wood joins Steve and I this week as we natter about all things mobile phone and catch up on the latest from Ben's museum. Plenty of time left to talk about Flipping and Folding, the Magic of Honor, the NXT thing in paper-like screens, Moto mayhem, Sony's short support, a bygone Sony Ericsson beauty and oodles more. So do join us for an hour!

Phones Show Chat
Episode 789 - And in a Packed Programme Tonight...
Saturday 17th February
Jim Fowl joins Steve and I this week again as we focus on all things mobile. I unfold my thoughts on 5th Generation Sammy clams, Jim can't decide between a Duo (or more) of devices and Steve has hands on with the latest Xperia beauty! Lots more besides, including a trip to London, Sweden!

Tech Addicts Podcast
Publisher Perished
Sunday 18th February
Gareth and I are back with another scoop up of techy stuff including a highly recommended Acer Chromebook with a great screen but short battery life, the Samsung re-released the Galaxy Tab, Microsoft’s PC Manager app, BitLocker’s vulnerability, the Pixel Fold’s alleged new design and loads more including UK tech bargains! Available in the usual places, so do join us.

Whatever Works
Episode 202 - Rented Rug Rubs!
Monday 19th February
Aidan and I are back with another therapeutic hour of jolly japes and frantic fiddles as we wonder about Whatever Works for you and us! Brian Eno makes an appearance alongside my parents (so make what you will of that!), Microfibre this, Fluorescent that and we're sure you won't tyre of our self-inflation!

Projector Room
Episode 157 - One Day, Day One
Wednesday 21st February
Allan, Gareth and I are here again with another of our fortnightly roundups. This time it's Intouchable Beekeepers, a Wonder Wheel outing with Juno Temple, a Night Swim in Loudermilk and a Bricklayer Ride Along aside the usual highlights. So do join us!

Phones Show Chat
Episode 790 - Dark Side or Light?
Sunday 25th February
Andrew Manning joins Steve and I this weekend as we explore more of our marvelous mobile merits! The goodness of Sony is up-front and centre, as is living a world between the main OS contenders left! Nostalgia galore, classifieds and even Photo of the Month. What's not to abandon all else for?!

The Podcasts
PodHubUK - Phones Show Chat - The Phones Show - Whatever Works - Chewing Gum for the Ears - Projector Room - Tech Addicts

The MeWe Community Groups (follow the links to join up)
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The Team
Ted Salmon - Steve Litchfield - Aidan Bell - Gareth Myles - Allan Gildea

Poor Things (2023)

If you appreciate the work of Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, Dogtooth, The Favourite) then you'll likely lap this one up too! It's a seemingly chaotic, Victorian-era, gothic, dark and bizarre romp with a feel of Frankenstein at the core.

Bella Baxter is the creation of mad scientist/doctor Godwin, having snatched up a pregnant woman who had committed suicide by plunging into the Thames. She died, but the child survived, so Dr Fruit-loop (calling himself 'God' by the way) takes the brain of the infant and puts it inside the head of the woman and what we end up with is the woman, dubbed Bella by him, for he knew not who she was, with a child's mind, outlook, behaviour and sense of adventure and discovery.

Willem Dafoe (Inside, Tom & Viv, Nightmare Alley) as the monster scientist plays it beautifully, only upstaged by the fabulous performance of Emma Stone (Magic in the Moonlight, The Favourite, Irrational Man, La La Land) as Bella. The pair of them transform into the characters required of them and are clearly having great fun depicting this off-the-wall story. They are a delight to watch (and for those wanting to see more of Stone, she certainly reveals plenty of herself)!

Yes, there's loads of sex as Bella explores being an adult, gets into all sorts of adventures, looks for her place and what she should be doing. The doctor is too past-it to consider coupling up with the young Bella, so he grooms one of his medical students, Max McCandles, played by Ramy Youssef (Mr Robot), lining him up to be her partner and eventually, husband. Bella finds him boring though and is much more turned on by the attentions of the doctor's wild lawyer, himself wanting to grab all life can offer, Duncan Wedderburn, played equally slickly by Mark Ruffalo (All the Light We Cannot See, Dark Waters).

Wedderburn whisks Bella off on a tour of Europe, having his way with her in various cities, situations and onboard boats, showing her how to make the most of her adult body, she milking the pleasure it can bring her! Eventually, the wild lawyer falls for Bella though, against his better judgement at the outset, and is most upset when she wants more than just him. More excitement with more people!

But it's not all sex and soft-porn! This is a delightful arthouse outing which is directed beautifully, the most being made of bright colours and lavish, creative, fantasy-based sets. So yes, the cinematography is perfect and the sets and costumes from a creative mind (and world). When you see the boat they are on at one point from afar, this all becomes very clear - that it's a creation of a mind going wild with design and ideas. And the who thing's a whacko idea, but clearly Lanthimos is having fun creating, in an almost Tim Burton way at times.

The film could be considered absurd, but I loved it as a reworking of the Frankenstein tale. The 2 hours and 20 minutes runtime simply flew by, the performances from pretty much all the players was great - but particularly the four leads, headed up by the impeccable Emma Stone. It's a wild ride, so strap in, get lost in it and you'll enjoy!

Miller's Girl (2024)

I won't quite flop it, but it's not far off, on first viewing. Certainly don't pay your hard-earned if you have no points or whatever to get it for free. Martin Freeman (who seems to pay an embarrassing lack of attention during accent-training) plays a failed writer, so now teacher, in an American college. Mr Miller.

Jenna Ortega's 18 year-old character Cairo (what a great name) starts to take his class and demonstrates to him that she has a special writing talent, so he singles her out for special attention. He sees nothing wrong with that. Until it gets out of hand and they're clearly falling for each other.

It's all very arty-farty throughout and we're not really ever very clear about what has happened between them, if anything, and what's an artistic projection of what she's writing about, but whatever it is, it raises concerns amongst the college's leadership, his wife, his friend and well, pretty much everyone really. So plenty of trouble ahead!

Add into the mix Cairo's tart of a friend who's trying to bed one of Mr Miller's colleague male teachers, but states that she's a lesbian, a drunk of a wife who makes him feel like an inadequate failure and we have the elements for potentially a good story and film. Sadly, it's really not.

It is, of course, nice to see the two high profile lead actors here, though sex and nudity there ain't - in case you were wondering - this film rather tries to artistically make suggestions of wrong-doing alongside some life observations about rejection, regret, failure and ambition. Sadly it gets caught up in itself trying to be something more.

It's generally nicely shot with very thoughtful camerawork, use of soft focus and close-ups - yes, very arty, the cast do well (apart from Freeman's accent) and it's, well, OK I suppose. I did find myself getting bored with it at times and wondering where it was going - and it doesn't really go anywhere. It's a short 90-minute film so perhaps if it were longer it might have been better. Don't know. Anyway, wait for it to come to streaming. It feels a bit like a direct-to-video outing to me.

Laced (2023)

The film that desperately needed a twist. And it didn’t come. But it keeps you expecting one and OK if you don’t know (I’ve spoiled that for you now)! Well actually there is one small twist, I guess. But anyway, I quite liked this little thriller.

It’s quite claustrophobic and felt as though it could have easily been a stage play with the whole shoot inside one house whilst outside a snow storm is in motion.

It’s the story of Molly who is living with her husband, Charlie, who abuses her (though we don’t see any evidence of it). She’s fallen in love (before we join the story) with a woman called Victoria.

Victoria has encouraged and facilitated Molly into bumping Charlie off by poisoning him, which she tries to do. Victoria is the apparent brains behind the plan and has it all worked out regarding disposal of the body.

In the middle of all this, Charlie’s friend Austin (who is also Molly’s brother) turns up unexpectedly and finds himself in the now-getting, complicated mix. It could well have been turned into a comedy (of errors) but no, it sticks to its guns as a thriller!

Three of the four actors, particularly Dana Mackin as Molly, are very good and Kyle Butenhoff playing Charlie is also the director/writer of the yarn. Hermione Lynch as Victoria is the one out of her depth as she goes about her task in a wooden manner.

But most of it is fun and stitches together nicely as a well-paced thriller. It keeps the viewer’s attention with some suspense and gore here and there. Worth a watch. It just really needed a twist!