THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS (2025)

SpongeBob journeys to the ocean's depths to face the Flying Dutchman's ghost, encountering challenges and uncovering marine mysteries.

For nearly three decades, SpongeBob SquarePants has been more than just a cartoon character; he’s become a cultural fixture. His boundless optimism, goofy innocence, and unshakable belief that every day can be “the best day ever” have kept him lodged firmly in the public imagination. It’s no surprise, then, that Nickelodeon continues to bring him back to the big screen. The SpongeBob Movie: Search for SquarePants is the fourth theatrical outing for the beloved sponge, and while it delivers the expected chaos and comedy, it struggles to offer anything narratively fresh.

The film kicks off with SpongeBob waking up to discover he’s grown just enough to finally ride a towering rollercoaster that has long taunted him. For SpongeBob, this isn’t just about thrills; it’s about proving he’s ready to stand among the “big guys.” But when faced with the ride’s intimidating cannons and screaming passengers, his courage evaporates. He panics, lies to Patrick about his bravery, and retreats.

Enter Mr. Krabs, who mocks SpongeBob’s fear and flashes his old pirate certificate, reminding everyone of his swashbuckling youth before fast-food capitalism consumed him. In typical SpongeBob fashion, things spiral out of control: he accidentally summons the Flying Dutchman, voiced with gleeful menace by Mark Hamill. Suddenly, SpongeBob and Patrick are whisked away on a ghostly ship, tasked with helping the Dutchman break a centuries-old curse.

From this point on, the film abandons any attempt at building mythology or deep narrative. Instead, it fully commits to absurdity. Once SpongeBob, Patrick, and Mr. Krabs plunge into the underworld, the movie becomes a rapid-fire parade of slapstick gags, visual puns, and irreverent detours. The pacing is relentless: joke, cut, gag, cut, explosion of color, cut, chase scene, cut.

For younger audiences, this manic energy is a feature, not a bug. The film never slows down long enough for attention spans to wander. But for older viewers, the sheer volume of jokes and quick cuts can feel exhausting. It’s SpongeBob turned up to eleven, and whether that’s exhilarating or overwhelming depends entirely on your tolerance for chaos.

One of the enduring charms of SpongeBob’s world has always been its ensemble cast. Squidward’s grumpiness, Sandy’s scientific curiosity, Plankton’s hapless villainy, and Pearl’s teenage angst all add flavor to Bikini Bottom. Unfortunately, Search for SquarePants sidelines most of these characters. Squidward, Sandy, Plankton, and Pearl appear briefly, but they’re little more than cameos. The spotlight remains firmly on SpongeBob, Patrick, Mr. Krabs, and the Dutchman. This narrowed focus gives the film a tighter buddy-adventure feel, but it comes at the cost of creative range. The comedic voices feel limited, and longtime fans may miss the quirky ensemble dynamic that has always defined the franchise.

At its core, the film’s message is about bravery. True courage, it insists, isn’t about height, swagger, or certificates; it’s about facing fear, whether that fear is a rollercoaster or the suspicion that others don’t see you as capable. It’s a wholesome theme, and SpongeBob’s vulnerability makes it resonate.

The problem is that we’ve seen this story before. SpongeBob trying to prove his maturity or bravery has been a cornerstone of both the series and previous films. Mr. Krabs dismissing SpongeBob as a kid echoes the first SpongeBob SquarePants Movie. SpongeBob’s fear of the rollercoaster mirrors the classic episode “Roller Cowards.” By revisiting well-worn storylines, Search for SquarePants struggles to justify its existence beyond being another fun romp.

Where the film does shine is in its animation. The creative team has improcved SpongeBob’s CGI theatrical look, giving the characters a clay-like texture that makes them pop on the big screen. The style contrasts beautifully with the 2D animation of the show, offering a more cinematic, elevated feel. The characters almost resemble claymation figurines, with textures and movements that enhance the visual gags.

The Flying Dutchman and his crew benefit especially from this design. Hamill’s voice work pairs perfectly with the eerie-yet-goofy visuals, and Regina Hall adds flair as his long-suffering second-in-command. Mr. Krabs also gets more depth and screen time than usual, which is a welcome touch.

Despite the dazzling visuals, the story feels stretched. The central plot could have been told in 45 minutes, but instead it’s padded into a feature-length runtime. Long sections drag, and the relentless gag-driven pacing makes the thin narrative even more apparent. The tone also wobbles: at times it’s too childish for older audiences, yet some of the ghostly sequences may be too spooky for very young kids.

All in all, The SpongeBob Movie: Search for SquarePants delivers exactly what you’d expect: bright colors, silly jokes, and SpongeBob’s trademark optimism. It’s fun, wacky, and over-the-top, but narratively it doesn’t bring anything new to the table. For kids under ten (or adults who are kids at heart) it’s a delight. For longtime fans hoping for something inventive, it may feel like déjà vu.

The film’s dedication to chaos ensures plenty of laughs, but its recycled themes and padded runtime keep it from reaching the heights of SpongeBob’s best outings. It’s a fine, fun time, but not a groundbreaking one.

The SpongeBob Movie: Search for SquarePants is in NZ cinemas on Boxing Day

Review written by Alex Moulton

BLOKE OF THE APOCALYPSE (2025)

Bloke of the Apocalypse: In the rural back blocks of New Zealand, a father and son battle a zombie apocalypse and some annoying neighbours, all while taking care of their pet lamb, Lambie, and zombified Mum, Julie. 

There’s something quietly brilliant about Bloke of the Apocalypse. It’s not loud, it’s not polished, and it’s certainly not trying to be the next big thing. But in its own understated way, it’s one of the most distinctive animated projects to come out of Aotearoa in recent memory. Created by 21-year-old Charlie Faulks, this six-part YouTube series is a lo-fi apocalypse stitched together with deadpan humour, elastic animation, and a surprising amount of emotional depth.

The premise is deceptively simple: Bloke and his son Oliver live on a quiet farm until the Wenza virus turns their world into a zombie-infested mess. Alongside Oliver's pet lamb and their undead mum Julie, the family must navigate the end of the world, and their own dysfunction, with a kind of stoic indifference that feels uniquely Kiwi. It’s not just a survival story; it’s a slow-burning character study wrapped in absurdity.

What makes Bloke of the Apocalypse stand out isn’t its plot (which is minimal by design), but its tone. The show is absurd, yes, but it’s never manic. It’s restrained, almost meditative, like watching Ren & Stimpy after a long day on the farm. Bloke is the archetypal rural dad: gruff, emotionally unavailable, and vaguely annoyed by everything. Oliver, by contrast, is a jittery ball of nerves; a chihuahua in human form. Their dynamic is classic odd-couple comedy, but filtered through the lens of small-town New Zealand masculinity.

The animation style is raw and elastic, with characters that stretch, twitch, and slump in ways that recall Adventure Time, Gravity Falls, and Regular Show. But there’s also a deliberate ugliness to the design; a kind of visual apathy that mirrors the characters’ emotional detachment. It’s not pretty, and that’s the point. The entire series was hand-animated on iPads using ToonSquid, with each scene crafted in a separate file and stitched together in DaVinci Resolve. It’s a DIY aesthetic that adds to the show’s charm, especially when you consider the scale of the project and the fact that Charlie was just 19 when he secured nearly $500,000 in funding from NZ On Air.

The humour is quintessentially Kiwi: dry, awkward, and often delivered with a blank stare. It’s the kind of comedy that doesn’t ask for laughs; it just exists, waiting for you to find it funny. There are moments of surreal tension, flashes of emotional insight, and plenty of jokes that land precisely because they don’t try too hard. It’s a vibe that will resonate with fans of Footrot Flats, Fred Dagg, and anyone who’s ever lived in a town where the local dairy doubles as a community hub.

Beneath the surface, Bloke of the Apocalypse is quietly ambitious. It’s a story about masculinity, emotional repression, and the contradictions of rural life. It’s about surviving not just zombies, but the weight of expectation, the silence between father and son, and the weirdness of being emotionally numb in a world that’s falling apart. There’s a subtle commentary here on New Zealand’s own pandemic response; the stoicism, the contradictions, the sense of “she’ll be right” even when everything’s clearly not.

That said, the series isn’t without its flaws. The pacing can feel slow, especially if you’re expecting traditional plot beats or high-stakes drama. The narrative meanders, and some episodes feel more like mood pieces than story arcs. But that’s part of the appeal. Bloke of the Apocalypse is best consumed in one sitting, like a short film broken into six parts. It’s not about what happens; it’s about how it feels.

And it feels like something special. With more support and a larger team, this could evolve into a flagship piece of New Zealand animation. There’s a wealth of untapped potential in our end-of-the-world stories, and Charlie Faulks has proven he's got the motivation to mine it. Bloke of the Apocalypse is a quiet triumph; a stoic fever dream that lingers long after the credits roll.

The show was released on YouTube Friday 31st October 2025. 

The show will premiere at Terror-Fi Film Festival on the follow dates & locations;

• Auckland – 6th November
• Christchurch – 16th November

Review written by Alex Moulton

CHAINSAW MAN – THE MOVIE: REZE ARC (2025)

Denji encounters a new romantic interest, Reze, who works at a coffee café.

Chainsaw Man – The Movie: Reze Arc is a cinematic rollercoaster that tries to fuse tender teenage romance with brutal, high-octane violence. It’s a bold attempt to expand the anime’s universe, but the result is a film that feels emotionally disjointed and structurally uneven. For longtime fans, it’s a visceral treat. For newcomers, it’s a confusing plunge into chaos.

The film opens not with blood and chainsaws, but with a surprisingly subdued tone. Denji, our hormone-driven protagonist, is caught between two women: the enigmatic Makima, his superior at Public Safety, and Reze, a charming barista he meets during a rainstorm. Their interactions are sweet, awkward, and laced with teenage longing. There’s a movie date, some flirtation, and a sense of normalcy that feels almost alien in the Chainsaw Man universe.

This first act is slow; almost too slow. It simmers with emotional tension but lacks urgency. The pacing drags as Denji’s internal conflict plays out in quiet scenes that feel more like a romantic slice-of-life than a supernatural thriller. Reze’s bubbly personality and Denji’s naïve infatuation create a believable, if slightly cliché, teen romance. But beneath the surface, there’s a creeping sense that things aren’t what they seem.

And then, the bomb drops...literally.

The film’s second half explodes into action, abandoning its romantic pretense for a barrage of violence, gore, and devilish mayhem. The villain is revealed, the Bomb Devil, a terrifying force of destruction who detonates herself with the flick of a finger. Her appearance is shocking, and the tonal shift is jarring. What was once a gentle story about young love becomes a battlefield of mutilation and chaos.

From this point on, the film is relentless. The fight scenes are kinetic and brutal, with Denji facing off against the Bomb Devil and other monstrous foes like the Typhoon Devil. The animation is dazzling; neon splashes of color, rapid cuts, and surreal choreography that defies physics. It’s a sensory overload, amplified by a pulsing soundtrack that feels more like a rave than a movie score.

Director Tatsuya Yoshihara and writer Hiroshi Seko clearly know how to stage a spectacle. The action sequences are some of the most visually impressive in the Chainsaw Man franchise. But the emotional weight of the first half doesn’t quite carry through. The romance, while touching, feels disconnected from the carnage that follows. The film’s structure, soft then savage, are so far on the opposite ends of the spectrum that it makes it hard to stay emotionally invested.

Supporting characters like Aki and Angel Devil make brief appearances, but their roles are underdeveloped. They serve more as background noise than meaningful contributors to the plot. This is a shame, as their presence could have added depth to the story’s themes of sacrifice and survival.

Thematically, Reze Arc explores Denji’s desire for normalcy and love, juxtaposed against the violent reality of his life as a devil hunter. The film displays Denji's fleeting chance at happiness, but also deadly threats. The duality gives the film a split personality: romantic drama on one side, hyperviolent thriller on the other. It’s an ambitious blend, but not a seamless one.

For fans of the anime, the film is a satisfying continuation. It doesn’t waste time rehashing old plot points, and it dives straight into new territory. But this also makes it less accessible to newcomers. Without context, the characters and their relationships are harder to grasp, though the broad strokes and context do keep it watchable. The film assumes you’ve done your homework; and if you haven’t, you’ll have a lesser experience.

The emotional climax hits hard, but it’s buried under layers of explosive action. Denji’s heartbreak, confusion, and growth are present, but they’re overshadowed by the spectacle. The final battle is a visual marvel, but it leaves little room for reflection. It’s thrilling, yes; but also exhausting.

Chainsaw Man – The Movie: Reze Arc is simply a film of two halves. The first is a slow-burning romance that builds emotional stakes. The second is a chaotic descent into violence that shatters those stakes with explosive force. It’s a bold experiment in tonal contrast, but not always a successful one. The pacing issues and inconsistent tone can make it a challenging watch.

Still, there’s no denying the film’s ambition. It pushes the boundaries of what anime adaptations can be, delivering cinematic scale and emotional complexity. It’s a flawed but promising entry in the Chainsaw Man saga, and one that will spark plenty of debate among viewers.

If you’re here for the blood, guts, and devil-slaying madness, you’ll get your fill. If you’re hoping for a coherent emotional journey, you might be left wanting. Either way, Reze Arc is a wild ride; and one that proves Chainsaw Man is anything but predictable.

Chainsaw Man - The Movie: Reze Arc was released in NZ cinemas from 19 September 2025

Review written by Alex Moulton

DEMON SLAYER: KIMETSU NO YAIBA INFINITY CASTLE (2025)

The Demon Slayer Corps are drawn into the Infinity Castle, where Tanjiro, Nezuko, and the Hashira face terrifying Upper Rank demons in a desperate fight as the final battle against Muzan Kibutsuji begins.

Anime has risen steadily in popularity around the world, moving from being a niche cultural product to a mainstream form of entertainment. Streaming services and dedicated platforms have accelerated this growth, opening the door for international audiences. Yet the divide between critical opinion and audience enthusiasm remains noticeable. Fans celebrate the energy, the spectacle, and the emotional weight of series like Demon Slayer, while critics often focus on structure, pacing, and storytelling form. Demon Slayer: Kimetsu No Yaiba – Infinity Castle falls directly into this discussion. It is a film that dazzles on a visual and sonic level, thrills with relentless action, and grabs hard at the emotions of its viewers. At the same time, it is a film where pacing is uneven, largely due to the frequent flashbacks, and one where knowledge of the prior four seasons feels essential to appreciating the true depth of its characters.

©Copyright_ ©Koyoharu Gotoge _ SHUEISHA, Aniplex, ufotable

Directed by Haruo Sotozaki and Hikaru Kondô, and based on the work of original creator Koyoharu Gotouge, Infinity Castle is not shy about its ambitions. From the very first frame, it plunges its audience into chaos. The Demon Slayer Corps find themselves scattered within a labyrinthine fortress, an infinite structure that constantly twists and shifts, reminiscent of an Escher-inspired landscape. Floors collapse without warning, doors open into voids, and walls tilt in impossible directions. The film wastes no time on preamble. Instead, it discards geography and logic to throw both characters and viewers into a fever dream of suspended gravity and endless pursuit. It is an opening that signals immediately that this is the beginning of the climactic arc.

For long-time fans, this entry marks the long-awaited confrontation between the Demon Slayer Corps and the demons led by Muzan Kibutsuji. For new viewers, the stakes are still clear. The heroes are framed unmistakably as champions of life, compassion, and humanity. The demons, with Muzan at their head, are embodiments of destruction and despair. Even with no prior knowledge of character histories, the lines are drawn cleanly enough for the core story to remain understandable. However, stepping into this film without watching the earlier seasons is much like starting the final battle of Avatar: The Last Airbender without any of the lead-up. You can follow the clash of ideals and the spectacle of combat, but you lose the nuanced layers of growth, loss, and friendships that have been built over time. To watch Infinity Castle cold is to do a disservice to the characters, who deserve to be understood in full context.

©Copyright_ ©Koyoharu Gotoge _ SHUEISHA, Aniplex, ufotable

The structure of the film revolves around three major confrontations. Each battle is introduced with explosive choreography, carried forward by dazzling animation, and then broken apart by flashbacks that provide history and emotional context. These flashbacks are vital for revealing the humanity that still lingers within demons, often painting them as tragic figures who fell from grace after unbearable personal losses. The third confrontation, taking up nearly half of the runtime, devotes itself to an extended backstory that explains the motivations of a particularly important demon. While these sequences add weight to the narrative, they also interrupt the momentum of the battles. The rhythm becomes predictable: action, flashback, emotional note, resolution. This pattern, repeated across multiple fights, can reduce the urgency of what is otherwise a non-stop ride.

Still, the animation is among the best in modern anime cinema. The blend of 2D characters and partially CGI-rendered environments is seamless, especially within the shifting halls of the Infinity Castle. The castle itself becomes a character, an ever-changing enemy that disorients and threatens the Demon Slayers at every turn. Within this landscape, elemental sword techniques burst across the screen in streams of fire, water, and lightning. Each breathing style, unique to the swordsman who wields it, creates attacks that feel both artistic and dangerous, forming an ongoing dance of movement, colour, and violence. The fight choreography is relentless, constantly escalating, and full of creative flourishes that keep the energy high.

©Copyright_ ©Koyoharu Gotoge _ SHUEISHA, Aniplex, ufotable

The focus of the story shifts between three main duels. Shinobu faces Doma, the Upper Rank demon who was responsible for her sister’s death. Zenitsu, rises to face Kaigaku, a former student under his master who has turned to the demon side. Meanwhile, Tanjiro and Giyu engage Akaza, the Upper Rank Three demon responsible for the death of the Rengoku. Each battle carries its own emotional charge, and while the film gives nearly every major character a moment to shine, these three fights dominate the screen. Not all characters are given equal treatment, and some characters are left in the background; clearly their stories are being saved for later instalments in this planned trilogy.

The film’s greatest strength lies in its ability to marry spectacle with emotional pull. It wants the audience to be awed one moment and devastated the next. Blood flows in deep crimson against sharp lines of steel, while tears fall in quieter moments of revelation. The demons are shown not simply as monsters but as former humans who once struggled with despair or tragedy. This mirrors the Demon Slayers themselves, who channel their pain into a determination to protect others. The contrast creates a powerful theme of what humans can become when faced with suffering, either descending into destruction or rising into compassion.

©Copyright_ ©Koyoharu Gotoge _ SHUEISHA, Aniplex, ufotable

At the same time, the reliance on flashbacks slows down the film’s pace at crucial points. Just as the momentum builds to a peak, the narrative cuts away to a backstory. The information is important, but the timing is often frustrating. Instead of a smooth escalation, the story becomes a series of surges and stalls, leaving the audience caught between adrenaline and reflection, without the time to fully absorb either.

For all its flaws, Infinity Castle is still an extraordinary technical achievement. The animation is fluid and consistently inventive, the sound design heightens every clash of steel and every roar of anguish, and the sheer ambition of staging this climactic arc across three films ensures that the stakes remain towering. The sacrifices of the Demon Slayer Corps are framed with respect, with many characters meeting tragic ends that raise the sense of danger. Unlike earlier arcs where plot armour often shielded beloved characters, here every battle carries the possibility of finality. This makes the villains genuinely threatening and keeps the viewer tense even through the more repetitive sequences.

©Copyright_ ©Koyoharu Gotoge _ SHUEISHA, Aniplex, ufotable

It is important to note that Infinity Castle is not the conclusion but the beginning of a trilogy. While packed with intense confrontations and emotional revelations, it ends without resolution. Muzan remains undefeated, and Tanjiro’s ultimate confrontation is left for future instalments. This lack of closure may frustrate some viewers, especially given the long runtime, but it also raises anticipation for what comes next.

All in all, Demon Slayer: Kimetsu No Yaiba – Infinity Castle is both exhausting and exhilarating. It delivers over two hours of beautifully rendered combat, intertwined with tragic histories that aim for the heart. It is easy enough to follow for newcomers, though the deeper emotional resonance requires the investment of watching the series first. Its greatest weakness lies in pacing, as the constant interruptions of flashbacks rob the battles of their full intensity. Yet when taken as part of the larger story, it remains a powerful start to what promises to be a grand finale. For fans, it is a must-watch. For newcomers, it is still accessible, though best experienced after immersing in the journey that brought these characters here.

Demon Slayer: Kimetsu no Yaiba - Infinity Castle will be released in NZ cinemas on September 11, 2025
Running Time: 155 mins         
Rating: TBA (R13 expected)

You can find your nearest screening here

Review written by Alex Moulton

TANIWHA (2025)

When a taniwha is disturbed by construction in a small Aotearoa town, Mereana and her friends must rally to protect it. With strange mushrooms, shadowy developers, and ancient forces at play, saving their world will take courage, creativity, and heart.

Silo Theatre’s Taniwha is a joyful, imaginative production that brings Aotearoa storytelling to life in a format that is as inventive as it is heartfelt. Designed for tamariki but offering wonder for all ages, the show blends theatre, puppetry, live filmmaking, and music into a vibrant, cinematic stage event that celebrates kaitiakitanga (guardianship), friendship, and standing up for the whenua (land).

At the centre of Taniwha is Mereana, a plucky and determined young girl who discovers that a local taniwha, a guardian creature from Māori tradition, has been disturbed by ongoing construction work near her home. With her tight-knit group of friends, she takes it upon herself to protect the taniwha’s habitat. As oversized blue mushrooms sprout from unexpected places and mysterious men in suits lurk nearby, it’s clear that Mereana and her team are up against more than just diggers and deadlines. What unfolds is a high-spirited, environmentally conscious tale, told with humour, imagination, and just enough edge to keep things exciting.

The story unfolds as a live film being made in real time on stage, using cameras, sets, puppets, and clever transitions. Two camera stations operate side-by-side, enabling one scene to be built while another is performed and filmed. This allows seamless transitions between sequences, all of which are projected above the stage as a finished “movie” the audience watches come together before their eyes. It’s a feat of creativity and coordination that never fails to impress. Behind the scenes (yet right in front of us), a team of three manipulate props, sets, and characters while a live band and a warm, clear narrator guide the experience with music and storytelling.

Composer Leon Radojkovic, well known in Aotearoa’s music and theatre scenes, provides a lively and charming score that evokes the classic adventure films of the 80s and 90s, with a nod to the whimsical energy of Studio Ghibli. Live musicians incorporate natural elements, such as tree fronds, to add layers of organic sound to the performance. The effect is subtle and textured, grounding the story in its uniquely New Zealand context while also making the music feel alive and evolving in the moment.

The puppetry itself is something to behold. While previous Silo productions such as Peter and the Wolf used three-dimensional puppets, Taniwha ventures into new territory. This show features two-dimensional cardboard characters, enhanced with movable parts for expressive gestures, hands, arms, eyes and all. Designed and operated under the expertise of master puppeteer Jon Coddington, these flat puppets come to life within sets crafted from a blend of cardboard, crochet, and carefully designed digital backdrops. The result is a handcrafted world that manages to convey rich depth and movement, using techniques such as layered backgrounds, transparent materials, and strategic lighting.

Much of the wonder of Taniwha lies in the visible process of its creation. Set and lighting designers Rachel Marlow, Daniel Williams, Lissy and Rudi Robinson-Cole, and a skilled creative team, including Tristan Bloemstein, Kate Burton, Minsoh Choi, Zoe Cully, Jane Hakaraia, Maddy Powell, Talia Pua, and others, have brought together tactile materials and hand-built artistry to produce an entire visual universe. The crew’s coordination is nothing short of astounding, with multiple scenes, props, lighting shifts, and camera cues happening in real time, often simultaneously. Watching this unfold live is as captivating as the story itself.

It is also heartening to see the level of detail and care in every aspect of production. Lighting and colour are used to great effect, giving the flat puppets dimension and emotion. Scene changes are impressively smooth. Occasionally, something goes slightly awry, perhaps a hand appears in frame, a puppet misses its mark, or the narration stumbles briefly,but these tiny missteps only add to the charm. They remind the audience that what they are seeing is entirely live and unedited, a bold act of theatre craftsmanship.

The narrative is accessible and wholesome, filled with themes of environmental protection, community action, and imaginative bravery. Though it’s clearly aimed at younger audiences, recommended for ages five and up, it never talks down to them. Instead, it invites them into a world where their ideas and voices matter. The story reinforces the idea that even young people can take a stand for what they believe in and make a difference.

Director Sophie Roberts brings a clear vision to this production, balancing technical complexity with emotional warmth. While the action is non-stop and the staging is intricate, there’s always space for character moments and small details. Mereana and her friends are each given time to shine, and their personalities are brought to life with endearing animation and voice work.

Beyond the performance itself, Silo Theatre extends the magic by offering take-home puppet kits to young audience members. This thoughtful gesture invites tamariki to continue their creative play beyond the theatre, extending the themes of imagination and storytelling into their own lives. It’s a meaningful way to deepen engagement and encourage the next generation of storytellers and artists.

Taniwha is a remarkable achievement in live theatre. It combines artistic innovation with cultural storytelling in a way that feels fresh, fun, and deeply rooted in the Aotearoa experience. Whether you're a child discovering live theatre for the first time or an adult marvelling at the skill behind it all, there is much to enjoy and appreciate. The show is vibrant, inclusive, and entirely original; a modern fable that celebrates creativity, community, and care for the environment.

In a time when many productions rely on screens and post-production to bring stories to life, Taniwha reminds us of the power of live, handmade theatre. It is a testament to what can be achieved when talented artists, designers, and storytellers come together with a shared purpose: to create something magical, meaningful, and unforgettable.

Taniwha is being performed at The Herald Theatre from 26 Jun – 13 Jul

Suitable for anyone aged 5 and up.

Tickets can be purchased here

Duration: 55 mins approx.

Review written by Alex Moulton

KAIJU NO. 8: MISSION RECON

In a Kaiju-ravaged Japan, Kafka Hibino, working in monster disposal, transforms into the powerful "Kaiju No. 8" and secretly strives to join the Anti-Kaiju Defense Force, alongside his childhood friend Mina Ashiro. As a new threat emerges, Kafka faces a critical decision that could change everything.

In the world of Kaiju No. 8: Mission Recon, Japan is constantly under threat from massive creatures known as Kaiju. These gigantic monsters wreak havoc on cities, and it’s up to the elite Anti-Kaiju Defense Force to protect the population. However, this isn’t your typical Kaiju story. Instead of following a young, ambitious hero, we meet Kafka Hibino, an older, down-on-his-luck worker who cleans up the mess left behind after the battles. Kafka may not have the typical heroic qualities at first glance, but his journey is one of redemption, determination, and self-discovery.

Adapted from Naoya Matsumoto’s manga, Kaiju No. 8 stands out with its unique protagonist and blend of humour and intense action. The omnibus film Kaiju No. 8: Mission Recon combines the first ten episodes of the anime’s first season into a single 119-minute feature, with the addition of a new original episode titled “Hoshina’s Day Off.” While the trailer might give the impression of a light-hearted, almost childish anime, it quickly reveals a deeper balance between thrilling monster battles and moments of comedy.

Credit: ©JAKDF 3rd Division © Naoya Matsumoto/SHUEISHA

At the heart of Kaiju No. 8: Mission Recon is Kafka Hibino, a man who has long abandoned his dream of joining the prestigious Anti-Kaiju Defense Force. Kafka’s job as a member of the cleanup crew is far from glamorous—he spends his days disposing of the remains of fallen Kaiju, a task that’s as gruesome as it is thankless. Kafka is the opposite of a typical anime protagonist. At 32, he’s no longer the eager, idealistic young man trying to prove himself. Instead, he’s a middle-aged man who has failed repeatedly to join the defense force, making his quest for redemption feel all the more relatable.

Despite the setback, Kafka is determined to change his fate. His dream of joining the Defense Force isn’t driven by ambition or a desire for glory—it’s a genuine wish to make a difference. What makes Kafka so appealing as a protagonist is that he doesn’t rely on his newfound powers to cheat his way into the defense force; instead, he uses his years of experience working with Kaiju remains to earn his place. Kafka’s growth throughout the series is heartfelt, and his journey towards self-acceptance is a big part of what makes the anime resonate.

Credit: ©JAKDF 3rd Division © Naoya Matsumoto/SHUEISHA

The action sequences in Kaiju No. 8: Mission Recon are one of the most exciting aspects of the show. The Kaiju battles are fast-paced and inventive, and the animation does an excellent job of capturing the scale and intensity of these fights. The design of the Kaiju themselves is diverse and detailed, with each monster bringing something unique to the table. These creatures feel alive, and the sheer force of their power is palpable.

What’s more impressive is the way the anime blends action with moments of humour. Kafka’s awkwardness, especially as he comes to terms with his new Kaiju form, provides a contrast to the brutal intensity of the battles. The humour is not just there for comic relief but also serves to make the characters feel more human. Kafka’s interactions with his colleagues, as well as his attempts to keep his Kaiju identity a secret, add a light-hearted tone to the otherwise dark and action-packed plot.

One of the more unusual elements of Kaiju No. 8: Mission Recon is the inclusion of an original episode titled “Hoshina’s Day Off.” This episode follows as a bit of an end credits special, offering a comedic finale. While this episode doesn’t contribute to the main plot, it serves to provide more character development and a light-hearted contrast to the high-stakes action the audience have been feasting on. However, this shift in tone can feel a bit jarring, especially when the main story ends on a tense note. 

Credit: ©JAKDF 3rd Division © Naoya Matsumoto/SHUEISHA

The anime’s visual style is striking, with bold colors and energetic camera movements that make each action scene feel dynamic and exciting. The animation is clean and detailed, and the lighting plays a significant role in setting the atmosphere. Many scenes take place at night, with characters dressed in black suits, which creates a unique visual contrast between the dark environment and the vibrant lighting used during battle sequences. The animation studio, Production I.G, is known for its high-quality work, and Kaiju No. 8: Mission Recon is no exception. The fluidity of the animation enhances the intensity of the Kaiju battles and allows for creative choreography in each fight.

What sets Kaiju No. 8: Mission Recon apart from many other Kaiju-centric anime is its tone. While it has the typical high-octane action that fans expect from a show about giant monsters, the anime balances this with moments of humour and emotional depth. Kafka’s character arc is central to the show, and his journey is what keeps the audience invested. There’s a strong focus on his inner struggle, and the anime doesn’t shy away from exploring the complexity of his feelings as he grapples with his Kaiju identity. The theme of redemption and second chances is a major thread throughout the season, and it’s something that resonates with viewers long after the credits roll.

While Kaiju No. 8: Mission Recon shares similarities with other anime like My Hero Academia or Attack on Titan—with its focus on a world threatened by powerful creatures—it also manages to carve out its own identity. Kafka is not your typical young hero; instead, he’s a man who’s trying to make up for lost time and prove that it’s never too late to chase your dreams. This shift in focus offers a refreshing change from the usual anime tropes, giving the story a unique perspective.

Kaiju No. 8: Mission Recon is an entertaining and well-rounded anime that offers much more than its initial premise suggests. The film does an excellent job of balancing intense action, humour, and character development. Kafka Hibino’s journey of redemption and his determination to fight for a dream that once seemed out of reach is both inspiring and relatable. The action scenes are exhilarating, the animation is top-notch, and the humour adds a light touch to the otherwise serious plot.

While the inclusion of the filler episode “Hoshina’s Day Off” might feel a bit out of place, it doesn’t detract from the overall experience. Instead, it gives viewers a brief reprieve before the story dives back into the action. If you’re looking for an anime that blends high-stakes action with emotional depth and a unique protagonist, Kaiju No. 8: Mission Recon is definitely worth checking out. To see how the story unfolds, be sure to catch the remaining episodes on Crunchyroll.

Kaiju No. 8: Mission Recon is in NZ cinemas from April 10, 2025

DRAGONKEEPER (2024)

The fate of ancient China rests on the shoulders of one young girl, who must find the last remaining dragon egg and fulfill her destiny.

Dragonkeeper is an ambitious animated feature directed by Jianping Li and Salvador Simó, adapted from Carole Wilkinson’s beloved 2003 novel. As a Spanish-Chinese co-production, the film seeks to blend cultural richness with the universal themes of courage, hope, and the eternal struggle between good and evil. While the movie offers some stunning visuals and a story with plenty of potential, certain elements, particularly the voice acting and narrative structure, hold it back from truly soaring.

Set in ancient China, Dragonkeeper follows Ping, a brave young servant girl who discovers she has a vital role in protecting the last dragons from extinction. Her journey is fraught with danger as she faces off against ruthless dragon hunters, imperial soldiers, and her own doubts. The film does a good job of highlighting the clear conflict between good and evil, which serves as a reliable backbone for the narrative.

While the themes of darkness and light are compelling and well-intentioned, the film sometimes leans too heavily into its darker moments. Scenes of dragon mutilation and peril might be too intense for younger children, making it better suited for older audiences. At the same time, the overarching message of hope and resilience shines through, ensuring that the film isn’t entirely bleak.

One of Dragonkeeper's greatest strengths is its visual design. The landscapes, inspired by Himalayan and Chinese settings, are beautifully rendered. The architecture and natural scenery are detailed and immersive, providing a rich backdrop for the story. The dragons, in particular, are animated with care, their movements and reptilian features feeling authentic and grounded.

However, while the environments and background visuals are impressive, the character designs are relatively simple and lack the same level of detail. This simplicity sometimes diminishes the emotional depth that the story is aiming for. Additionally, the film’s darker tone is reflected in its colour palette, which occasionally makes scenes appear murky and hard to follow. A touch more vibrancy or strategic lighting could have helped balance the visuals and kept viewers more engaged.

Unfortunately, the voice acting is one of the film’s weaker points. Despite featuring well-known talent like Bill Nighy, the performances come across as flat and lacking in personality. Dialogue that should be brimming with emotion often falls short, leaving key moments feeling underwhelming. The decision to dub the film into English with British accents might help broaden its audience, but it sacrifices some of the authenticity and nuance that a Mandarin version with subtitles could have delivered.

Character development, especially the relationship between Ping and the dragon, also feels somewhat rushed. Ping’s transformation from a passive observer to an active hero is essential to the story, yet it doesn’t unfold as organically as it could. Their bond, which is meant to be the heart of the film, lacks the depth and gradual growth that would make their connection truly moving. The script’s tendency to skip over key developmental moments leaves gaps that make the narrative feel disjointed.

The film’s structure is another area that could benefit from refinement. The first act, while dramatic, can be confusing due to unclear introductions and sudden time jumps. The second act feels somewhat absent, causing a noticeable gap in the story’s progression. This leaves the third act with the burden of resolving plot points that haven’t been fully established. The lack of humour or lighter moments to balance the drama also makes parts of the film feel monotonous.

However, the action sequences are well-executed and keep the plot moving forward. These scenes provide the necessary energy to maintain interest, even if the surrounding narrative falters.

Despite its flaws, Dragonkeeper remains a film with significant potential. Its gorgeous visual design and earnest storytelling suggest that the studios involved have a bright future ahead. With improvements in voice acting, clearer character development, and a more cohesive narrative, their next project could truly shine.

For audiences who appreciate animated films with darker themes and stunning visuals, Dragonkeeper offers an engaging, if imperfect, adventure. While it might not fully achieve the heights it aims for, it’s a commendable effort and a reminder that even in dark moments, there is always hope.

Dragonkeeper will be released in NZ cinemas from January 16, 2024

SONIC THE HEDGEHOG 3 (2024)

Sonic, Knuckles and Tails reunite to battle Shadow, a mysterious new enemy with powers unlike anything they've faced before. With their abilities outmatched in every way, they seek out an unlikely alliance to stop Shadow and protect the planet. 

Sonic the Hedgehog 3, directed by Jeff Fowler and written by Pat Casey, Josh Miller, and John Whittington, is an electrifying conclusion to the beloved trilogy. With standout performances from Jim Carrey and Keanu Reeves, this film raises the stakes, delivering high-octane action and surprising emotional depth. It's a thrilling ride that, while relentless in its pacing, solidifies its place as the best instalment in the franchise.

The story wastes no time, throwing viewers straight into the action as the new threat, Shadow the Hedgehog, emerges. From the opening scenes, the film grabs your attention with its fast-paced energy and never lets go. While the non-stop momentum can feel overwhelming at first, the narrative gradually finds its footing, weaving together a coherent and engaging storyline. The frenetic pacing is a double-edged sword—it ensures there’s never a dull moment, but at times, it doesn’t allow the emotional beats to land with the full weight they deserve.

Keanu Reeves as Shadow the Hedgehog is a revelation. Shadow’s tragic backstory, rooted in loss and vengeance, is handled with surprising sensitivity, providing the film with a solid emotional core. Reeves brings a soulful complexity to the character, capturing Shadow’s pain and reclusiveness with precision. His portrayal goes beyond the action, offering a layered and heartfelt performance that elevates the film. Shadow’s brooding intensity and moral ambiguity add a new dimension to the story, making him one of the most compelling additions to the franchise.

Shadow’s conflicts with Sonic and the rest of Team Sonic are thrilling to watch. While many of these clashes stem from misunderstandings that could be resolved with dialogue, they serve as the perfect backdrop for explosive action sequences. These moments, reminiscent of Dragon Ball Z’s climactic battles, are a visual treat, showcasing the film’s exceptional animation and choreography.

On the opposite end of the emotional spectrum is Jim Carrey, returning as the eccentric Dr. Robotnik. Where Shadow embodies loss and vengeance, Robotnik is pure chaotic joy. Carrey’s performance is a masterclass in physical comedy and over-the-top antics. His portrayal of Robotnik, brimming with childlike enthusiasm and manic energy, provides much-needed levity to the darker narrative. It’s a testament to Carrey’s talent that he can deliver comedy without undercutting the story’s emotional depth, and he does twice the work!

Robotnik’s journey in this film is as entertaining as ever. Overcoming his losses from the previous films, his storyline returns him to his larger-than-life personality,  both hilarious and formidable. Carrey’s ability to balance menace with mirth makes Robotnik an unforgettable character and a cornerstone of the trilogy’s success. All with the assistance of his ever-doting Agent Stone, another solid performance and the focal point of a very enjoyable subplot.

Despite its relentless pacing, Sonic the Hedgehog 3 doesn’t shy away from emotional storytelling. Shadow’s origin story, rooted in tragedy, is handled with care, giving the character—and the film—genuine emotional heft. These moments, though brief, are impactful, showcasing the film’s ability to balance action with heart. The contrast between Shadow’s sorrow and Robotnik’s joy creates a dynamic emotional landscape that keeps the audience invested.

The film also explores themes of friendship, loyalty, and redemption, particularly through Sonic’s interactions with Shadow. Ben Schwartz’s Sonic remains as charming and witty as ever, serving as the sometimes irrational and impulsive leader of "Team Sonic". His chemistry with Colleen O'Shaughnessey’s Tails and Idris Elba’s Knuckles continues to shine, although the growing cast of characters occasionally struggles to find enough to do.

One of the film’s greatest strengths is its faithfulness to the source material. By minimizing the presence of human characters outside of Robotnik, the story feels more in line with the Sonic games. This creative decision allows the film to fully embrace its video game roots, immersing the audience in a world where anthropomorphic heroes and villains take centre stage. For fans of the franchise, this authenticity is a welcome treat.

Director Jeff Fowler, who worked on the 2005 video game Shadow the Hedgehog, brings a deep understanding of the character and the franchise to this film. His direction ensures that Shadow’s introduction is not only faithful to the games but also compelling for newcomers. Fowler’s experience and passion are evident in every frame, making this a fitting conclusion to the trilogy.

While Sonic the Hedgehog 3 is undeniably entertaining, its breakneck pacing comes at a cost. The constant race from one action sequence to the next leaves little room for reflection, and some emotional moments feel rushed as a result. The film’s ambition to include multiple storylines and characters occasionally stretches its runtime thin, but these shortcomings are minor in the grand scheme of things.

The film builds to an epic climax that is both visually stunning and emotionally satisfying. The final showdown, brimming with high-stakes action and emotional payoffs, leaves a lasting impression. It’s a fitting conclusion to a trilogy that has grown in scope and ambition with each instalment.

Sonic the Hedgehog 3 is a triumph of action, emotion, and character-driven storytelling. Keanu Reeves’ moving performance as Shadow and Jim Carrey’s comedic brilliance as Robotnik are the heart of the film, elevating it above its predecessors. While the relentless action occasionally undercuts its emotional impact, the film’s energy and enthusiasm are infectious.

This third chapter cements Sonic the Hedgehog as one of the best video game adaptations in recent memory. For fans of the franchise, it’s a must-watch. For newcomers, it’s an exhilarating addition to the world of Sonic. With its blend of thrilling action, heartfelt moments, and unforgettable performances, Sonic the Hedgehog 3 races past expectations and into cinematic greatness.

Sonic the Hedgehog 3 will be released in NZ Cinemas on Boxing Day, December 26, 2024