28 Years Later reunites Alex Garland and Danny Boyle, and it’s everything you could hope for from this genius writing and directing duo.
It’s been more than two decades since we saw Cillian Murphy wandering around an abandoned London in the opening scene of 2002's 28 Days Later, and the impact of that movie on the post-apocalyptic horror genre can still be seen to this day.
At the time, that movie stood out for its pioneering take on the horror staple that is the zombie, imbuing the 'infected' with an especially terrifying trait: they were able to run. Before this, films like Dawn of the Dead had portrayed zombies as slow-moving, imbecilic creatures, which made the idea of sprinting monsters even more petrifying.
The first sequel, 2007's 28 Weeks Later, wasn't made by the original filmmakers and is not now regarded as canonical, so does not factor into the plot of the new movie28 Years Later. Instead of the infected reaching Europe, as we saw at the end of 28 Weeks Later, in this telling the 'rage' virus, which escaped from an animal testing lab, has been contained by quarantining Britain from the rest of the world.
A recording of Rudyard Kipling's poem Boots features on the soundtrack of 28 Years Later, evoking parallels with Britain's historic wars (Image credit: Sony Pictures)
28 Years Later has a more folk-horror feel compared to the original, centering on a community of survivors who've made a home for themselves on Lindisfarne, an island separated from the coast of northern England, and from the infected, by a gated causeway.
It's here where we meet Alfie Williams' (His Dark Materials) character Spike, a young boy who's about to make what seems to be a rite of passage to manhood by accompanying his father Jamie, played by Aaron Taylor-Jonson (Kick-Ass), to the mainland for his first kill, the quarry being the infected.
Before they leave, the pair are reminded that the rules of their society mean they won't be rescued if they don't return. This adds a foreboding note to their journey, setting us up for our first encounter with the now-evolved infected, which have morphed into new variants that feel inspired by The Last Of Us.
The new infected include fat, crawling bloaters, pack-like families that can still sprint, and ripped 'alphas' that have evolved to be much smarter and bigger than the rest – and these new leaders aren't as easy to kill, even if Spike, like his father, is already a skilled archer.
The introduction of a baby raises a lot of questions about what this means for the lore of the film series (Image credit: Sony Pictures)
The movie soon shifts from a father and son's fight for survival to an equally fraught mission. When Spike sees a opportunity to save his sick mother Isla, who's played by the incredible Jodie Comer (Killing Eve), mother and son set off in search of a reclusive doctor who's rumored to live on the mainland.
Queue perhaps of the best performance of the movie, as we meet Ralph Fiennes' (Schindler's List; The Grand Budapest Hotel) Dr Kelson, surrounded by skulls and bones in one of the most elaborate graveyard shrines I've ever seen. The introduction of Fiennes' multi-layered character marks a turning point for the film, setting up events that will likely play a central role in the next film – 28 Years Later: The Bone Temple – that's set to be released in January 2026.
In a lot of ways 28 Years Later is a coming-of-age story that grapples with themes of loss, grief, and survival, making it a lot different to the societal breakdown that was the focus of 28 Days Later. The themes running through both films, though, are underpinned by Garland's unsparing exploration of what makes us human.
Much as 28 Days Later did with its flower-painting scene, 28 Years Later at times employs a dream-like aesthetic – look out for the galaxy of stars (Image credit: Sony Pictures)
Despite the time between the two films, 28 Years Later pays homage to the original by including the same lingering wide shots, and by featuring the iconic and unsettling track In the House – In a Heartbeat by John Murphy, while also setting the scene for the next chapter.
The opening scene of 28 Years Later, which shows a group of children watching Teletubbies before they have to flee an attack by the infected, may seem disconnected from the rest of the film, but it all makes sense when Spike unknowingly encounters Jack O'Connell's (Eden Lake) character, who wears the same cross we saw one of the children being given, in the closing scene.
This sets up the film series to go forward on a much more larger scale, as it introduces us to different strands of survivors that will no doubt be a big part of the next two movies. As the first of this new trilogy, 28 Years Later is a captivating watch with multi-layered filmmaking, phenomenal performances, and a story that hits closer to home than it might, initially appear.
28 Years Later is available to watch in cinemas around the world from June 19. We don't yet know which of the best streaming services it will be added to, or when.
Ballerina is a real litmus-test moment for the John Wick universe.
The Continental, the franchise's first TV project, was a risky prequel series that lacked Keanu Reeves' star power and, by proxy, indicated that Lionsgate's billion dollar-spinning enterprise couldn't flourish without Reeves' iconic hitman being front and center in its various productions.
Ballerina appears to suggest otherwise. The fifth film in the series – and the first that doesn't feature Reeves as its lead – is a typically thrilling franchise entry that shows 'The World of Wick' could have a bright future without Reeves at the helm. Well, that is as long as future Wick-Verse movies and shows don't fall into the same hackneyed traps that Ballerina occasionally does.
When you think of me, you should think of fire
Ana de Armas stars as Eve Macarro, a Ruska Roma assassin who goes rogue to avenge her father's death (Image credit: Lionsgate)
The child of an assassin who was gunned down for apparently betraying the criminal organization he was a member of, the orphaned Eve is taken in by the Ruska Roma, the crime syndicate that also raised and trained Wick.
It's easy to draw comparisons between Ballerina and the first John Wick movie
Years later, the now-adult Eve carries out covert missions for the Ruska Roma. However, when she realizes her latest target has ties to the enigmatic gang that murdered her father, Eve ignores the orders of her surrogate family's matriarch in The Director (Angelica Huston) to let things lie. Cue Eve going rogue as she embarks on a one-woman quest to track down her father's killers and seek vengeance.
Eve enlists the help of The Continental New York's manager Winston (Ian McShane) to find her father's killers (Image credit: Lionsgate)
With its classic tale-of-revenge format, it's easy to draw comparisons between Ballerina – or, to type out its full title, From the World of John Wick: Ballerina – and the first John Wick movie.
Sure, there are subtle differences between their plots. 2014's John Wick sees Reeves' retired hitman punish those who stole his beloved Mustang and killed the puppy that his deceased wife posthumously gifted Wick to help him through the process of grieving her loss.
Here, Eve seeks retribution for her dad's murder, and in the process she unearths some big secrets about her past that, as plot twists go, are so derivative I spotted them from the get-go. Those narrative distinctions aside, though, the basic plot structure and themes explored in both films are the same, which is why parallels will inevitably be drawn between them.
Watching Eve's competency in the field improve... makes for pleasant viewing
That said, the narrative disparity between this duo is felt most keenly in how Ballerina sets up its tale. Act one is an origin story in all but name, with the film's first 45 minutes establishing Eve's backstory and events that led to her joining the Ruska Roma before transitioning to the modern day. In that sense, Ballerina's opening act isn't unlike that of Furiosa: A Mad Max Saga, whose five-act plot plays out in a similar manner.
Interesting as it to witness Eve's transition from traumatized child to skilled assassin, Ballerina's first act feels drawn out. For a movie that clocks in at two hours, the fact that it takes 45 minutes to get to the meat of the story is a disproportionate amount of time to spend on narrative set-up. Sure, it's fun to see Eve's competency in the field improve – she makes plenty of mistakes along the way, mind you – as the first act progresses, but Ballerina could've reached its critical storytelling juncture far earlier than it does.
Enemy of my enemy
Daniel, a mysterious individual played by Norman Reedus, is tracked down by Eve (Image credit: Lionsgate)
Once its actual story gets going, Ballerina becomes an exercise in hasty plot exposition and world-building, and typically breathless and violent action.
Ballerina further embellishes the seedy nature of this fictional world
Where the former is concerned, Ballerina's intriguing expansion of the John Wick universe further proves that it's not just a world where assassin guilds are commonplace.
Previous Wick-Verse films have tentatively spotlighted other criminal gangs that inhabit this franchise. However, Ballerina, which shouldn't be called a John Wick spin-off, according to director Len Wiseman, confidently embellishes the seedy, complicated nature of this fictional world by revealing that the High Table isn't the sole establishment that governs the criminal underworld's various factions. Spoilers notwithstanding, I'm eager to see how future films and TV shows will expand on the splinter organizations introduced in this movie and establish others with their own mythos.
Ballerina's action sequences are as fantastical, violent, and over the top as you'd expect (Image credit: Lionsgate)
As for its physically demanding set-pieces, Ballerina's will draw "oohs" and the odd expletive-laden comment from audiences. Like John Wick, Eve is a quick-thinker who uses everyday items to gain the upper hand in combat and take out the foes she faces in her big-screen debut. The flamethrower-centric action sequence, which featured heavily in Ballerina's official trailer, is likely to be many viewers' most-loved set-piece in this film, but separate fights involving a stack of plates and a pair of ice skates were my particular favorites.
Entertained as I was by Ballerina's action, some moments felt a little amateurish. Indeed, there are a couple of set-pieces in act two where there's a notable delay between actors – or their stunt doubles – taking hits and reacting to said body blows, which temporarily pulled me out of the moment. They're not the worst situations I've seen in an action thriller flick, but they reduce the believability of the duels on show.
Rules and consequences
Yeah, we're thinking he's back (Image credit: Lionsgate)
Those occasional moments may be missteps, but the manner in which Ballerina handles Wick's small but significant appearance isn't.
Fans have known that Reeves' legendary gun-for-hire would turn up since Ballerina's first trailer was released last September. Thankfully, his role in proceedings – I didn't time it, but I'd say Reeves' screentime is around 10 minutes – is not only a natural fit for the story Ballerina tells, but also ensures Reeves doesn't upstage de Armas in her own movie.
Don't worry, though, Wick fans, he gets his own incredibly satisfying action sequence – one that takes place after the suspense-filled confrontation he has with Eve –that'll satiate your desire to see him take names and kick ass.
Angelica Huston's The Director gets a semblance of character development in Ballerina (Image credit: Lionsgate)
The supplemental appearance from Reeves' beloved hitman aside, if I had to be hyper-critical of Ballerina, it doesn't do much with the rest of its starry ensemble.
Norman Reedus' Daniel... is criminally underused
Yes, Huston's The Director earns more screentime here than she has in prior John Wick films. Ian McShane's Winston and the late Lance Reddick's Charon earn their stripes in their respective minor and cameo roles, too. Given Ballerina's sharper focus on the Ruska Roma, plus Winston's active role in shaping Eve's life, though, I expected them to feature more than they did.
The same goes for Norman Reedus' Daniel, a mysterious individual with ties to those who killed Eve's father who, aside from inadvertently complicating Eve's quest for revenge, is criminally underused. ConsideringBallerina's release was delayed so additional photography could take place to include scenes that were initially removed from the script, I'm baffled over the lack of airtime afforded to Reedus and some of his contemporaries.
My verdict
Ballerina is an entertaining, largely self-contained story whose typically high-octane nature will appease John Wick devotees and offers a soft narrative reset that makes it accessible to franchise newcomers. With de Armas' likable badass at the helm, it's an entry that could spawn its own film series within the wider John Wick universe, and it's one I certainly think is worth exploring.
That said, Lionsgate and Wick's chief creative team can't rely on the shock value of its violence, nor copy and paste its revenge tale formula into stories starring other characters, forever. Whether it's the very-early-in-development John Wick Chapter 5, the forthcoming flick starring Donnie Yen's Cain, or the franchise's anime-style TV show, fans will demand something far more creative or fresh in the future.
If Ballerina is popular and financially successful to warrant a sequel, and if said follow-up cracks the originality code, we could look back on this de Armas-fronted film as the one that proved the Wick-Verse is in safe hands without Reeves steering the ship. Fail to do so and, to paraphrase Marvel anti-hero Wade Wilson from Deadpool and Wolverine: "Lionsgate will make Reeves do this until he's 90!".
From the World of John Wick: Ballerina opens in theaters worldwide on Friday, June 6.
If you’d have told a 33-year-old Tom Cruise at the 1996 premiere of Mission: Impossible that he’d be promoting — and not just promoting, living — the same film franchise 29 years and seven instalments later, he probably would’ve believed you right there and then.
There are plenty of seemingly impossible things about Mission: Impossible – The Final Reckoning, but Cruise’s commitment to the character of Ethan Hunt is not one of them. Brian De Palma’s big-screen reboot of the 1966 Mission: Impossible TV series was the first to be produced by Cruise’s then-new production company C/W Productions, and the ageless star has since committed to going bigger and better with each subsequent instalment.
The Final Reckoning is, we presume, the last Mission: Impossible movie for some time (maybe ever!), and though it’s certainly no better than what’s come before – in truth, it probably places fifth or sixth in our ranking of the Mission: Impossible movies – it’s most definitely bigger than anything else you’ve seen (or will see) this year.
Back in the saddle
The series' eighth entry picks up where 2023’s Dead Reckoning left off, with Ethan and the rest of the IMF gang still trying to outfox the rogue artificial intelligence system known as 'the Entity'. It’s essentially the same Big Bad as before, except now the Entity is hell-bent on nuclear armageddon, and it’s also started to brainwash small pockets of the populace into supporting its apocalyptic cause (some people just have to be part of a club).
To ensure its own survival when the bombs start to fall, the Entity needs access to a secure digital bunker in South Africa, and it’s here that our heroes hope to trap ChatGPT-on-steroids using a combination of various hard-to-get-hold-of MacGuffins, including an elaborate USB stick buried in the belly of a sunken Russian submarine. So far, so Mission: Impossible.
There are many, many other facets to The Final Reckoning’s convoluted story, which is even more difficult to follow than the plot of the original Mission: Impossible, but the film is essentially a '90s disaster movie dressed up as a commentary on AI and misinformation.
That’s not necessarily unbecoming of the franchise – Ethan has always been dropped into a race against time to save the world – but, to its detriment, The Final Reckoning feels distinctly more grandiose than any other Mission movie before it, with more time devoted to politicking and fate-of-the-world decision-making than to ingenious gadgetry and covert spycraft.
Ethan spends precious little time with his IMF crew in The Final Reckoning (Image credit: Paramount)
Mission: Impossible is at its best when Ethan and his band of IMF misfits are infiltrating a famous landmark or pulling off an improbable escape, quipping at each other as they do so (the Burj Khalifa sequence in Ghost Protocol is an all-timer example of that formula in action). The Final Reckoning swaps this playful tone for doom and gloom in a bid to raise the emotional stakes, but the trade-off is a more serious, arguably un-Mission: Impossible-like experience overall.
This sentiment isn’t helped by an exposition-heavy first hour, which jumps between locations, characters, and plot threads like a YouTube recap of the Mission: Impossible series so far. Flashbacks are fine in moderation, but the sheer number of them deployed by director Christopher McQuarrie in the opening moments of The Final Reckoning is an indictment of the film’s unwieldy story.
Getting down to business
The underwater sequence is an instant Mission: Impossible classic (Image credit: Paramount)
Mercifully, things take a turn for the action-packed about halfway through, when Ethan jumps into the Bering Sea in search of that aforementioned Russian submarine. It’s here that we’re introduced to Captain Bledsoe, played with scene-stealing aplomb by Severance star Tramell Tillman, and the first of two outrageously gripping stunts gets underway.
If you’ve seen any of The Final Reckoning’s trailers or posters, you’ll know that the biplane sequence – shot at 8,000 feet in 140mph winds with no CGI – is being framed as the film’s centerpiece, and while it’s undeniably impressive, the earlier submarine sequence is arguably the bigger highlight. Here, McQuarrie and Cruise use a combination of digital effects and practical wizardry to simulate the inside of a missile-filled submarine at the bottom of the ocean, and the sense of scale and jeopardy the pair achieve is staggering.
Watching Cruise dodge nuclear warheads under life-threatening amounts of pressure will have you, too, feeling like you’re trapped on the ocean floor, especially if you experience this ordeal in the expanded aspect ratio afforded by IMAX.
Quite frankly, The Final Reckoning is saved by its two major set-pieces. They bring a much-needed injection of excitement to an otherwise drawn-out disaster story, and while the film as a whole could do with more action and less situation-room drama, these stunts will remind you why you paid the ticket price. Nobody is doing it like Tom Cruise, and this eighth and potentially final entry in the Mission: Impossible franchise – for all its many shortcomings – hammers home that truth and then some. Cue the theme music!
Mission: Impossible – The Final Reckoning arrives in theaters and IMAX on May 21 (UK) and May 23 (internationally).
Thunderbolts* was always going to be viewed as the Marvel movie underdog of 2025.
In a year that saw the arrival of a new Captain America film and The Fantastic Four's highly anticipated addition to the Marvel Cinematic Universe (MCU), a movie starring a ragtag team of lesser-known anti-heroes and reformed villains might not have been high on many people's theatrical agenda.
Like the titular team, though, Thunderbolts* has battled against the odds to cement its place as one of the best Marvel movies since 2019's Avengers: Endgame. Armed with a supremely talented cast on top form, and the MCU'smost affecting story to date when it comes to exploring themes of vulnerability – a story that struck a huge chord with me – it's also an emotionally resonant movie that encouraged me to reflect on my past, and not let it define me.
Shadow selves
Thunderbolts* is the latest MCU movie to feature a group of outsiders coming together for the greater good (Image credit: Marvel Studios)
Like The Avengers and Guardians of the Galaxy (GotG), Thunderbolts* tells the tale of a maladjusted group of individuals thrust together to battle a common enemy.
Boil the movie down to its simplest form, and comparisons to those two films are easy to make, in terms of both its storytelling structure and the archetypal characters who inhabit all three movies, such as John Walker/US Agent (Wyatt Russell) and Bucky Barnes/The Winter Soldier (Sebastian Stan) being the serious soldier stand-ins for The Avengers' Captain America and GotG's Drax.
Thunderbolts*' humor-laden moments... are belly-achingly effective in their delivery and plot placement
The same can be said of Thunderbolts*' whip-smart humor. Like many of its MCU counterparts, Thunderbolts* is full of snarky retorts, quippy one-liners, and other wisecracks. However, rather than being throwaway jokes that do little else but raise a smile, its humor-laden moments are belly-achingly effective in their delivery and plot placement.
Yelena and Alexei's strained relationship is a core part of what makes Thunderbolts*' story so engaging (Image credit: Marvel Studios)
The on-screen rapport between the Thunderbolts – unlike in the comics, the unpopular team name isn't derived from Thaddus 'Thunderbolt' Ross – is equally electrifying. In fact, I'd wager the chemistry between Thunderbolts*' eclectic cast of characters is the most natural in an MCU film for a while.
That might be a bold statement to make, particularly in light of the absorbing dynamic between Ryan Reynolds and Hugh Jackman in Deadpool and Wolverine. As an ensemble, though, the playful and melodramatic manner with which this film's cast bounce off each other is a far cry from the camaraderie (or, rather, lack thereof) of other films' casts.
The on-screen rapport between the Thunderbolts is utterly electrifying
The team's 'found family' dynamic fizzes and pops with a pleasing poise that captivated me from the moment that many of them meet, too.
Indeed, a western stand-off-style showdown between Yelena Belova (Florence Pugh), US Agent, Ava Starr/Ghost (Hannah John-Kamen), and Antonia Dreykov/Taskmaster (Olga Kurylenko) in the first act, which occurs after each agent is sent to take down one of the others by shady CIA director Contessa Valentina Allegra de Fontaine (Julia Louis-Dreyfus), is as frenetic and wonderfully farcical as you might expect.
Yelena and Bob's relationship is one of Thunderbolts*' most moving elements (Image credit: Marvel Studios)
Of the dynamics on display, I was most emotionally invested in Yelena's relationships with Alexei and Bob.
The estranged familial dynamic between Yelena and Alexei is full of histrionics, hilarity, and heartfelt moments that underline, if further evidence was needed, Pugh's and Harbour's standing as two of the greatest actors of their generation. Emotionally engaging tour de forces, they most certainly are.
That said, the relationship between Yelena and Bob is the one that really captured my attention, because theirs is the earnest fulcrum that really drives the Marvel Phase 5 movie's emotionally-charged narrative. I'm not afraid to admit that their bond drew visceral reactions for me on two occasions – as I write this review, just thinking about one specific moment in the film's final act leaves me teary-eyed and with a lump in my throat.
Fight off your demons
Thunderbolts*' opening scene features Yelena figuratively standing on the edge of the emotional abyss (Image credit: Marvel Studios)
The emotional intensity Thunderbolts* delivers narratively won't be lost on anyone who watches one of 2025's most anticipated new movies, either.
Indeed, where the Avengers assembled to protect New York City – and the wider world – from Loki and his Chitauri army, and the Guardians united to defeat Ronan the Accuser, this film's unruly cast of characters have a far tougher foe to overcome: themselves.
Thunderbolts* is following Moon Knight's lead with its sensitive approach to mental health issues
You see, while Thunderbolts* includes conventional antagonists in de Fontaine and someone you probably expected to be a good guy, it's the ensemble's darkest, most secret inner selves who are their greatest nemeses.
This isn't new territory for Marvel. As a medium, comic books are widely regarded for telling stories that reflect the world around them, so there's no reason why comic book/superhero films wouldn't do likewise.
That's reflected in the fact that the MCU has tackled such difficult subject matter before, too. However, where Iron Man 3 made light of and danced around Tony Stark's grapples with PTSD following The Avengers, Thunderbolts* is following Moon Knight's lead with its sensitive approach to mental health issues.
Despite his past, Bucky Barnes is the most well-rounded character in Thunderbolts* (Image credit: Marvel Studios)
Whether it's Yelena's disillusionment with life itself, Bob's split-personality disorder, US Agent's deep shame, or the team's collective feelings of regret, Thunderbolts* is cognizant of the mental health issues that many of us battle everyday or at some point in our lives. These are characters who lack the individual ability to deal with their past mistakes and/or who feel trapped in an endless loop of despair, and Thunderbolts* does a terrific job of not only humanizing them through the traumatic experiences they've endured, but also making them incredibly relatable.
Pugh and Pullman's raw, multi-layered performances are as impactful as any MCU acting display you're likely to see
Again, Pugh and Pullman are particularly worth highlighting. The rest of the cast are superb, but the pair's raw, multi-layered performances, which build on the emotionally rich script penned by MCU stalwart Eric Pearson, and The Bear, Hacks, and BoJack Horseman scribe Joanna Calo, are as impactful as any MCU acting display you're likely to see.
A brief flashback showcasing De Fontaine's (right) tragic backstory helps to humanize even the CIA's duplicitous overlord (Image credit: Marvel Studios)
Thunderbolts* isn't without its niggles, mind you. For one, its ending feels a bit abrupt. Despite the emotional impact on display in the movie's final action set-piece, the manner with which the Marvel movie's Thanos-level-esque 'main villain' is dealt with is contrived – and, likely in the eyes of some viewers, eye-roll inducing – as well. The lack of screen time afforded to Louis-Dreyfus' megalomaniac and master manipulator is a bit of a sore point, too.
The logic used to 'depower' Sentry is also a bit too convenient. I'm sure Captain Marvel will have something to say about this, as will Gi'ah from Secret Invasion – we don't talk about that terrible Disney+ show here, though – but he's arguably the most powerful superhuman in the MCU now. With Robert Downey Jr's Doctor Victor von Doom due to upend things from a multiverse perspective in Avengers: Doomsday and Avengers: Secret Wars, a supremely powerful individual like Sentry would be handy to have around.
My biggest bugbear with Thunderbolts*, though, is the unceremonious and unnecessary demise of a character who deserved better in this movie, and in the MCU as a whole. I don't like how it played out, or how the immediate and long-term impact of what happened is handled. For a film that does so much right from a character introspection viewpoint, Thunderbolts* frustratingly drops the ball over this incident.
My verdict
Thunderbolts* is an expectation-defying, incredibly moving MCU entry that unashamedly wears its heart on its sleeve. It balances its melodrama, cathartic story, and deconstruction of heroism with the MCU's classic, fun-filled elements so well that it's a Marvel film I can see myself watching in a theater and/or at home many times over. Considering there are many other MCU movies I haven't seen since I initially watched them on the big screen, that's high praise indeed.
It would be easy to say Thunderbolts* is the best MCU film since, say, Avengers: Endgame. I've certainly been guilty of doing that with Shang-Chi, Black Panther: Wakanda Forever, and Deadpool & Wolverine.
Thunderbolts* deserves to be part of the 'best Marvel movies' conversation
Compared to some of Marvel's less impressive movie offerings in the years since Endgame, though, Thunderbolts* deserves to be part of that conversation. It doesn't reinvent the team-up movie formula, nor will it win any awards for its action sequences (for what it's worth, though, the stunts are mostly real rather than relying on CGI, and most of those sequences are great).
What it does do is tell a deeply emotional story about a group of alienated individuals who could purposefully walk away from problems that don't concern them, but who nonetheless do the right thing when the world needs them. If that doesn't make them deserving of "being the heroes on the Wheaties box with the little kiddie toy" – Red Guardian's words, not mine – I don't know what would.
Thunderbolts* arrives in theaters on May 1 (UK) and May (internationally).
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It's not hyperbole to say we're in the midst of a golden age of video game adaptations.
From Arcane, Fallout, and The Last of Us TV shows, to the Sonic the Hedgehog films and The Super Mario Bros Movie on the big screen, there have been plenty of fantastic animated, live-action, and hybrid reimaginings to enjoy recently.
That's not to say there hasn't been the occasional dud and, unfortunately, A Minecraft Movie falls squarely into that category. Lacking a clear identity, and at times hideous and garish to look at, Warner Bros' take on the best-selling game of all time isn't the blockbuster video game adaptation I was hoping for.
Press play
Four human outcasts accidentally travel to the Overworld, aka Minecraft's block-based universe (Image credit: Warner Bros. Pictures/Mojang Studios)
A Minecraft Movie tells the story of four human misfits who are inadvertently transported to the Overworld, a surreal, cube-based reality where your imagination is the only limitation to what you can craft.
However, the quartet – washed-up gaming champion Garrett (Jason Momoa), struggling realtor Dawn (Danielle Brooks), and orphaned siblings Henry (Sebastien Hansen) and Natalie (Emma Myers) – soon realize that this idyllic dimension isn't all it seems.
It's hard not to be impressed by... how incredibly faithful A Minecraft Movie is to Mojang's hugely popular sandbox game
When the malevolent Piglin leader/sorceress Malgosha (voiced by Rachel House) learns that the group possesses the Orb of Dominance, a magical cube that grants its wielder unlimited power, she sends her Nether-based forces after them. Cue Henry and company teaming up with Steve (Jack Black), another human outcast who's made the Overworld his home, to stop the Orb falling into Malgosha's hands – or, rather, hooves.
Right off the bat, it's hard not to be impressed by the scope of this film, nor how incredibly faithful A Minecraft Movie is to Mojang's hugely popular sandbox game.
Indeed, the attention to detail is tremendous. From the gorgeous, block-based backdrops, whose draw distance adds to the movie's scale, to the sheer number of Minecraft references and other gaming secrets dotted throughout its 100-minute runtime, A Minecraft Movie is a near-perfect example (from an Easter egg viewpoint, anyway) of a video game adaptation done right.
Many Minecraft fans have taken exception to its movie adaptation's art style (Image credit: Warner Bros. Pictures/Legendary Pictures)
Unfortunately, that's where A Minecraft Movie's positives largely begin and end. Awestruck though I was by the background imagery, Warner Bros' live-action-animated hybrid flick isn't pleasant to look at.
Warner Bros' live-action-animated hybrid flick isn't pleasant to look at
Whether it's the uncanny valley nature of the fauna that inhabits the Overworld or the film's fleshy, nightmare-fuel-inducing take on Minecraft's villager contingent, I just couldn't get on board with its aesthetic.
There's no reason, as some long-time fans like Alumio on YouTube have demonstrated, that A Minecraft Movie couldn't have stuck with the game's block-based, pixel art style. In fact, I'd argue it would have a far better chance of not only succeeding but also getting fans on side if its creative team had retained the video game's 16-bit-esque visual approach.
Player selection issues
A Minecraft Movie doesn't know who it wants its protagonist to be (Image credit: Warner Bros. Pictures/Mojang Studios)
There's little to shout about on the human cast front, too.
For one, A Minecraft Movie doesn't know who it wants its protagonist to be. Yes, there's an argument to be made that Minecraft is more enjoyable as a multiplayer experience than a single-player one. From that perspective, it makes sense to build the movie's plot around an ensemble and ensure each character, who all possess unique personalities, strengths, and weaknesses, has their fair share of screentime.
A Minecraft Movie doesn't know who it wants its protagonist to be
A Minecraft Movie fumbles the bag with this approach. Its prologue, which outstays its welcome by a good 10 minutes, suggests Steve will be its central character. One quick pivot later, though, and Garrett is set up as the movie's primary hero. No sooner has Momoa's character been established as the protagonist than Henry is installed as its champion-in-chief. Simply put, A Minecraft Movie's multifaceted main character energy outweighs the group dynamic nature it desperately wants to emulate.
The subplot involving Jennifer Coolidge's Marlene is the funniest thing that A Minecraft Movie has to offer (Image credit: Warner Bros. Pictures/Mojang Studios)
It doesn't help that it somewhat relegates its female characters to the sidelines.
A Minecraft Movie tries to make Dawn and Natalie feel important to the story, but they're just kind of... there. Character-wise, they're not as fully formed as their male counterparts, which feels like a huge misstep in the current climate. Their burgeoning friendship is only fleetingly explored when the boys are off having much more thrilling adventures, too.
A Minecraft Movie... doesn't devote enough time to establishing bonds between its core cast of characters
But theirs isn't the only dynamic that feels half-baked. A Minecraft Movie spends so much time on slapstick moments and winking to the camera that it doesn't devote enough time to establishing bonds between its core cast of characters.
The exception to that rule is the slightly gratifying expansion of Steve and Garrett's relationship. What starts out as an amusing rivalry, as they attempt to one-up each other, leads to a deep respect for what their former frenemy has to offer. Black and Momoa may be playing archetypal individuals – Black's character, in particular, is just a heightened version of himself – that we've seen them portray many times before, but they play the parts well, so I can excuse their trite character portrayals to some degree.
Refusing to enable creative mode
A Minecraft Movie should be more creative than it actually is (Image credit: Warner Bros. Pictures/Mojang Studios)
What's less forgivable is A Minecraft Movie's lack of innovation from narrative and thematic standpoints.
As I said, Hess and company deserve credit for their meticulous approach to Minecraft's in-game lore and other homages to Mojang's hugely popular video game. But, in a virtual world where creativity is king, A Minecraft Movie's inflexible and derivative approach to its story, and lack of action-based invention, leaves a lot to be desired.
A Minecraft Movie would've shone far brighter if it had been braver on the originality front
There are moments when A Minecraft Movie seems like it's ready to break free from its self-imposed shackles.
Henry and Garrett's respective crafting of a Tater Tot Gun and Buck-Chuckets (the latter being two buckets joined by an iron-link chain) are unorthodox, but at least they're wholly original weapons that aren't copy-and-paste jobs from Minecraft's extensive items list. The movie's final battle does something similar with the leader of an Iron Golem army, too – further evidence that A Minecraft Movie would've shone far brighter if it had been braver on the originality front.
A Minecraft Movie's plot doesn't creep along like one of the game's iconic Creepers do (Image credit: Warner Bros. Pictures/Mojang Studios)
I'm always hesitant to criticise a movie or TV show for its plot pacing, especially one like A Minecraft Movie that, at its core, is designed for kids.
However, it gets off to a slow start due to the aforementioned sluggish prologue before performing a dizzying U-turn and barreling through its main quest. It's certainly lean in its make-up and, therefore, tailor-made for young minds with shorter attention spans, but I do wish it had been slightly more methodical tempo-wise.
My verdict
Two questions have dominated my thoughts since the press screening of A Minecraft Movie.
The first – 'Will families and/or Minecraft devotees enjoy this?' – can be answered with an emphatic 'yes'. Whichever way you slice it, A Minecraft Movie is a child-friendly film that's also designed to nostalgically appeal to those of us who have spent countless hours exploring procedurally-generated maps that allowed our imaginations to run wild.
As much as I want to recommend A Minecraft Movie, though, the answer to the second question that's been on my mind means I can't. Whenever I leave a film screening, I always ask myself, 'Did I enjoy that?' and, unfortunately for this movie, the answer is a firm 'no'.
A Minecraft Movie had the building blocks to be a great video-game film, but, for me, it's been crafted on shaky ground, rather than a layer of bedrock. My advice? Quit this game while you're ahead and wait for one of 2025's new movies to be available to stream on Max instead.
A Minecraft Movie launches exclusively in theaters worldwide on April 4.
Anthony Mackie deserves a spell in the Marvel spotlight. The fan-favorite actor has portrayed Sam Wilson in the Marvel Cinematic Universe (MCU) for over a decade but, a co-starring role in Falcon and the Winter Soldier (FATWS) on Disney Plus aside, he's played second fiddle to other A-listers in the multi-billion-dollar-spinning franchise.
That's no longer the case. Captain America: Brave New World, the penultimate Marvel Phase 5 film, puts Mackie in the leading man role he's more than merited. It's a pity, then, that his first big-screen outing as the titular hero isn't as brave or new as its subtitle implies.
On a wing and a prayer
Falcon and Captain America have got their hands full in Brave New World (Image credit: Marvel Studios)
Three years have passed since Sam Wilson (Mackie) decisively adopted the Captain America mantle in FATWS' final episode. Since then, Steve Rogers' successor has worked in unison with Joaquin Torres (Danny Ramirez), who's also replaced Wilson as the MCU's Falcon, and the US military to carry out covert operations for the US government. Cap 2.0 and his wingman's latest assignment sees them successfully retrieve a mysterious package that Seth Voelker/Sidewinder (Giancarlo Esposito) and his criminal enterprise, aka The Serpent Society, were attempting to sell to an unknown individual in Mexico.
Anthony Mackie and Harrison Ford are on top form
The recovery of said package leads to Wilson and Torres, plus Wilson's associate – not to mention super-soldier and one-time wrongly imprisoned individual – Isaiah Bradley (Carl Lumbly) receiving an invitation to the White House from Thaddeus 'Thunderbolt' Ross (Harrison Ford). There, Ross, who was partly responsible for breaking up the Avengers in Captain America: Civil War and is now President of the United States, confidentially asks Wilson to help Ross reform Earth's Mightiest Heroes. Additionally, the package that Wilson and Torres retrieved contained a sample of adamantium, aka the near-indestructible metal that famously coats X-Men icon Wolverine's skeleton. The corpse of Tiamut, the giant Celestial whose emergence from Earth's core was halted by the Eternals in their self-titled 2021 movie, is covered in the stuff – and the world's superpowers have all laid claim to its vast resources.
Wilson (center) meets Japanese Prime Minister Ozaki (left) and US President Ross at the White House (Image credit: Marvel Studios)
To prevent a major geopolitical situation, Ross, who claims to be a changed man after his installation as America's Commander-in-Chief, has invited numerous world leaders to Washington to sign a treaty that'll allow all parties to benefit from the discovery of adamantium. Unfortunately, things go awry when an unusual song begins playing over the sound system – one that causes a suddenly brainwashed Bradley to try and assassinate Ross.
The fallout is significant. Bradley is sent back to prison, Ross retracts his offer to work alongside Wilson because of his friendship with Bradley, and Wilson and Torres go rogue to track down the real threat. Oh, and the treaty goes unsigned – cue the world's biggest nations racing to lay claim to Tiamut Island and adamantium as a new arms race quickly threatens to spiral out of control.
It's here that the first signs of Captain America 4's unoriginality surface. When I spoke to director Julius Onah and producer Nate Moore ahead of the movie's release, they were at pains to stress that Brave New World isn't simply a rehash of previous Captain America films like The Winter Soldier. Yet, whether it's Cap defying his superiors once more, Bradley's brainwashing being comparable to Bucky Barnes', and the political thriller vibes that this movie and The Winter Soldier display, it's hard to argue against the similarities. In that sense, Brave New World feels like it's simply replaying The Winter Soldier's greatest hits, albeit with different personnel.
Brave New World's central conflict revolves around US President Thaddeus Ross and Sam Wilson (Image credit: Marvel Studios)
The decision to keep Wilson and Ross apart for large stretches of Captain America 4's story is also irksome. Yes, keeping their encounters to a minimum makes them all the more suspenseful when the duo verbally and physically lock horns. With this being the movie's central conflict, though, I would've liked to see more tense showdowns between the pair, especially as Mackie and Ford's on-screen chemistry is as captivating as the hard-hitting punches and venomous barbs they throw at each other.
Brave New World feels like it's simply replaying The Winter Soldier's greatest hits
It's an even greater shame when you realize that Mackie and Ford are on top form. Ford brings buckets of charm, real menace, and emotional gravitas to the role held by William Hurt until the latter's death in March 2022. Indeed, Ford's ticking time-bomb-like display as a man, father, and leader slowly spiraling out of control is engrossing to watch. That's not a slight on Hurt's multi-movie performance as Ross, either – it's just that Ford is, well, afforded more screen time in Brave New World than Hurt was since his own MCU debut in 2008's The Incredible Hulk.
But this is Mackie's stage – and he absolutely delivers. It's incredibly fun to see Mackie's Wilson reveling in the role of Captain America, and displaying confidence and skill as Rogers' successor. Sure, his new Vibranium-infused super-suit helps to give him the edge in fights – his new costumes and various gadgets allow for some creatively entertaining set-pieces throughout – but, even without them, Wilson (and, by proxy, Mackie) is a far more assured presence who commands the screen with aplomb.
That isn't to say Wilson is the complete package. Unlike Rogers, Bucky, and Bradley, he's not a super-soldier – he's an ordinary man who bleeds and can be hurt physically and emotionally. The latter vulnerability is on full show in Captain America 4, too, with Wilson proving that he's still grappling with the weight of responsibility of being the Star-Spangled Man with a Plan, and Rogers' legacy. Unsurprisingly, Mackie lights up the screen during such moments with typically moving performances.
Shielded from originality
Sam Wilson's new Wakanda-produced super-suit helps him to stay in the fight against Red Hulk (Image credit: Marvel Studios)
Mackie and Ford aren't the only ones who deliver acting masterclasses. Lumbly gives a powerhouse performance that elevates each disappointingly brief scene he's in, and the endearing friendship he shares with Wilson is also enriched by these moments – it's just a bummer that this dynamic, and the generational trauma oozing out of these melodramatic moments, isn't explored further.
Lumbly gives a powerhouse performance that elevates each scene he's in
The same is true of Wilson and Torres' brothers-in-arms relationship. There's a pleasing evolution to their banter-and-respect-filled friendship from FATWS, but it's a dynamic that occasionally takes a backseat when the movie could have leaned into it more. Wilson's interactions with Ross' security advisor Ruth Bat-Seraph (Shira Haas) and US Secret Service agent Leila Taylor (Xosha Roquemore) don't get much play, either.
Captain America 4 had me Hulk-ing out with rage over some of its creative decisions (Image credit: Marvel Studios)
Captain America: Brave New World's biggest problems, though, center around its surprising lack of MCU interconnectivity and innovation. Sure, where the former is concerned, its clear ties and references to The Incredible Hulk and Eternals are satisfying. I and many other MCU fans have long waited for narrative pay-off from two of the lowest-ranked films – on any best Marvel movies list – to be addressed, so I'm glad they are here. However, there are other Marvel projects, such as the universally panned Secret Invasion TV series, whose events are key to setting up Brave New World but which have bizarrely been swept under the rug. Last May, Marvel said fans no longer needed to watch its Disney Plus shows to understand what happens in its movies. In theory it's a smart move but, in practice, for a studio that prides itself on its shared universe where characters and storylines overlap and interweave with one another, it's a particularly big oversight for this flick, in my view.
For a studio that prides itself on its shared universe, it's a particularly big oversight
Then there's the aforementioned lack of imagination. As a character study and overall narrative, Captain America 4 is too safe and predictable for my liking. Moore and Onah told me that Marvel's goal is to always make the best movie possible, but there's no sense of that being the case here. I've seen the story before in The Winter Soldier and FATWS. I've already watched a man in a suit of armor (aka Iron Man) try to deal with a gamma-irradiated, seemingly unstoppable monster (i.e., Bruce Banner's Hulk) in 2015's Avengers: Age of Ultron. And, while its sub-two-hour runtime means Brave New World doesn't outstay its welcome, I've witnessed first-hand the problems that Marvel movies have when they move at a break-neck pace. Structurally, Cap 4 is as an uneven MCU film as I've watched for a while.
My verdict
After Marvel released exciting new trailers for Captain America 4 and Thunderbolts in November 2024, I suggested that they would help Marvel Phase 5 to go out with a bang rather than a whimper. Four months before the Multiverse Saga's latest phase ends, though, I may be proven wrong, because Brave New World isn't as great as it could have been.
I want to stress that it's not a completely bad movie. There are elements that are enjoyable, and its cast, particularly Mackie, Ford, and Lumbly, anchor it with outstanding performances. As a standalone adventure that's supposed to herald a brave new world for the MCU, though, it's not nearly as narratively or creatively fulfilling as I'd hoped. Thunderbolts needs to deliver, otherwise I'll have plenty of egg on my face in May.
Captain America: Brave New World launches in theaters worldwide on Friday, February 14.
Wolf Man is the latest horror movie from Leigh Whannell, who’s known for horror hits including Insidious, Saw, and most recently, his adaptation of the Universal Monster movie The Invisible Man. Wolf Man was one of my most anticipated horror movies of 2025, and I'm pleased to say that Whannell has delivered once again, with a surprisingly heartfelt tale that takes us on a horrifying journey of grief and loss.
These themes are present throughout the whole movie, and it wastes no time in throwing us straight into the action after a family – parents Blake (Christopher Abbott) and Charlotte (Julia Garner), and their daughter Ginger (Matilda Firth) – are attacked by a creature during a full moon. The family end up barricading themselves into their isolated farmhouse hoping to protect themselves from the danger that lurks outside – but unknowingly, they’ve inadvertently locked dangerinside with them.
Blake’s body begins to deteriorate and transform into something monstrous, confronting the viewer with horror that is both physical and psychological. Much like The Substance, our favorite body horror of 2024, it doesn't shy away from the gory detail and physiological trauma of a human being metamorphosing into something utterly inhuman . Expect nails ripping off, a jaw being broken, and bones moving – and it sounds as dreadful as it looks, thanks to a sound design that leaves nothing to the imagination, and which really elevates the whole movie. And yet, as horrific as it is to witness, it's the psychological aspects of Blake's transformation that scared me the most. The loss of a person’s identity is a recurring theme across many body horrors; it’s perhaps captured best in the way that Jeff Goldblum’s scientist slowly loses his mind as he loses his humanity in The Fly, and in Wolf Man Whannell approaches a similarly traumatic metamorphosis through a very sympathetic lens.
Without giving too much away, Wolf Man uses some clever POV shifting so we get to experience Blake’s transformation through both human and wolf's eyes, with the latter making for some particularly distressing scenes. As he changes into a ferocious wild animal, Blake can no longer understand his terrified wife and daughter., everything is more heightened. Their inability to communicate cleverly mirrors Blake and Charlotte's already strained relationship.
(Image credit: Blumhouse)
The goal of a the original Universal Monster movies was to be scary, and the creature in the latest Wolf Man adaptation certainly is. There are some effective jump scares here, again thanks in part to the sound design, which are best experienced on a big screen, though some might argue that the movie is too reliant on the jump. I'm inclined to agree – and for me the psychological aspects of the story are just as frightening if not more so.
The creature design did seem to divide audiences when teasers for Wolf Man were first released, and while I do think it could have been a bit more, well, wolf-like in places, no horror movie has so far really managed to nail the werewolf, and any shortcomings in this department are easily made up for by Abbott’s performance as a man losing both his own humanity and the people he loves. I can easily forgive some slightly-off special effects when a story is as rich and thought-provoking as this, proving that sometimes raw, human emotion is the scariest thing of all. All three of the lead actors are fantastic, but 10-year-old Matilda Firth deserves a special shoutout for the way in which she skilfully navigates the terrifying, dark, jump-filled landscape of Wolf Man, displaying a confidence and maturity way beyond her years. Considering I'm approaching 30 and I watched a lot of this through my fingers, she's officially braver than me.
Wolf Man is quite a way to start 2025, and while January is not typically the season for horror, it's already set the bar high for scarier entries among the new movies we’re looking forward to this year. You’ll want to catch it in the theater for the best experience – but you might want to make sure there's not a full moon that night, as it could make for a nerve-jangling walk home.
Moana 2 is not the follow-up we expected, as it was originally meant to be a Disney Plus show and instead arrived as a feature film. I must admit it was lovely seeing it on the big screen, especially during a gloomy December evening in London, but I can't help but imagine what a full series would've looked like.
Personally, I rather like the idea of an entire series dedicated to Hei Hei, a la Forky Asks a Question which centers on the much-loved toy fork character from Toy Story 4. An eight-episode series about a stupid chicken is right up my street.
I did have high hopes going into this movie, and I am happy to say that most of my expectations were met. Such bright and beautiful visuals are always a welcome treat. For example, I am fascinated by how well they seem to animate water. With this in mind, I would encourage you to see this on a big screen or at least have a great at-home setup for maximum immersion, as it's easy to find yourself swept away to the island of Motunui and what lies beyond.
Three years later...
(Image credit: Disney)
Moana 2 picks up three years after the first movie, where Moana is still fully connected to the ocean she adores so much. When she receives an unexpected call from her ancestors, she assembles a crew as a wayfinder where she hopes to track down the hidden island of Motufetu, reconnecting the people of the ocean once again.
As ever, she is enthusiastic about the mission, perilous as it may be, and would have been quite happy going off and doing it all by herself. She is encouraged to form a crew instead, and this merry band of misfits is thoroughly entertaining to watch. So much so, I think it will be worth rewatching when it arrives on Disney Plus.
The four-person crew is made up of Moana, Moni (Hualālai Chung), who is a superfan of the demigod Maui, Loto (Rose Matafeo), who is an engineer of sorts, and Kele (David Fane), a farmer who is grumpy and not massively thrilled to be recruited. This mismatch of personalities is excellent fun, resulting in some expected chaos, especially when you throw in Hei Hei and Pua. They say to never work with animals for a reason, right?
I really loved Moana's crew and all the performances. Still, one that stood out to me the most was Moana's little sister Simea (Khaleesi Lambert-Tsuda), who stole the show despite her limited screen time thanks to her feisty, lovable personality. If Moana 3 does happen, I'd certainly like to see more of her!
Exploring familiar shores
(Image credit: Disney Plus)
Along the way, they do locate Maui, of course, because Moana simply would not be complete without Dwayne Johnson's cocky, reckless demigod figure. When Moni finally meets Maui, there are plenty of laugh-out-loud moments.
While the plot of Moana 2 is centered around finding a new, long-lost island, it's quite ironic that many of the beats feel similar to what we've seen before. This is a journey we have undertaken as viewers, but I didn't mind following along for a second time!
Going on a voyage with Moana is always wonderful, I adore the songs, the atmosphere, everything about it. Even though we didn't quite reach the memorable heights of "You're Welcome", I have had some of the songs stuck in my head this week, especially "What Could Be Better Than This?", so it's not like any of the songs were complete duds.
While predictable in places, there is plenty of action, especially when it comes to the third act, where I did actually start crying, the mark of any good Disney movie, in my opinion. If I'm not sobbing into my popcorn, I do find myself kind of disappointed. There is also more than room for a follow-up movie, and I sincerely hope it happens.
Just give me more Hei Hei next time, please, I really do love him!
Mention SiriusXM and most people think of the service that uses satellites to beam hundreds of music, talk, comedy, news, and sports radio stations to automobiles. That service has become popular for several reasons. First, traditional (i.e., terrestrial AM/FM) radio isn’t what it used to be. Second, for many in rural areas, the ability to receive terrestrial station signals can be limited.
However, there is a SiriusXM internet-based mobile app that delivers virtually all of the content found on the satellite service. While that typically requires a line of site between the automobile and the satellite to work, like the best music streaming services, the SiriusXM app only requires a cellular or Wi-Fi connection. It will work on your iOS or Android-based phone or tablet and is also supported by many of the best TVs, the best streaming devices, and the best wireless speakers from brands such as Sonos and Bose. The app’s content can also be accessed on a computer web browser. SiriusXM’s app has you covered whether you are home, outside exercising, in your car, or anywhere else where you can access the internet.
The SiriusXM app’s All Access” $9.99 per month subscription plan includes an astonishing amount of content that is sure to provide something for everyone. It features over 425 streaming stations and thousands of podcasts courtesy of Pandora, which is owned by SiriusXM. As discussed below, there’s also exclusive content, the crowning jewel of which is The Howard Stern Show and its related programming.
Unlike streaming services such as Spotify, Apple Music, Qobuz, and Tidal, the SiriusXM app does not support the playback of specific music tracks or the creation of track-specific music playlists. (Users can train the app through thumbs up and down icons to play the type of music that they like, however.) Also, some of the music channels can get a bit repetitive and the sound quality won’t satisfy those using expensive, audiophile playback gear. Still, with the enormous amount of content available on the app, all of which is served up via a slick interface, we think the only problem will be deciding what to listen to and watch.
SiriusXM app review: Pricing and subscription
The SiriusXM app's Library, Live Sports, and Podcasts screens (Image credit: SiriusXM)
$9.99 per month
Three-month free trial
No free ad-based tier
A SiriusXM app All Access subscription plan costs $9.99 per month and can be canceled at any time. It provides access to over 425 channels of ad-free music, news, talk, comedy, and sports. Also included are the Howard Stern channels, video, sports talk, live sports coverage, artist stations, Pandora podcasts, and exclusive in-studio content.
If you want also to receive SiriusXM satellite radio for your car, numerous plans start at $16.98 per month. Details about those plans are available on SiriusXM’s website.
As with competitors like Apple Music, there's no free ad-based tier for any SiriusXM subscription plan. Nor is there a comprehensive family plan, although there is a discount for each additional subscription within the family. Students can get the All Access plan for $4 per month. Also, a three-month free trial for All Access will let you determine if it is right for you.
SiriusXM app review: Specs
SiriusXM app review: Content
SiriusXM app screens (Image credit: SiriusXM)
Over 425 diverse audio channels, plus video
Includes ad-free music and live-action sports
Pandora podcasts
The content library available with the SiriusXM app’s All Access subscription plan is, to say the least, extremely vast. For example, if you’ve come to the SiriusXM app for music, there are plenty of ad-free music stations ranging from SiriusXM Hits 1 (pop hits from Taylor Swift, Harry Styles, Miley Cyrus, etc.) to Oldies Party (The Supremes, Elvis Presley, etc.) and Miles Davis Radio (24/7 Miles Davis music).
Though the tracks on some of the app’s music stations can sometimes be repetitive, there’s always another interesting station or special event to tune in to. For example, SiriusXM’s Billy Joel Channel is currently broadcasting that artist’s final show from his ten-year Madison Square Garden residency.
Speaking of concerts, one fun thing about the SiriusXM app is the weekly giveaways. Some of the giveaways are tickets to see an artist at a venue near the entrant’s home. Others throw in an all-expenses paid trip to see an artist at a venue far away, such as Taylor Swift performing in Miami, Florida during her Eras tour.
For talk and entertainment fans, the elephant in the room is SiriusXM’s exclusive arrangement with talk host Howard Stern, who has two channels on the platform. Howard 100 broadcasts his show live and then repeats them until the next live show airs, while Howard 101 broadcasts a supplemental “wrap-up show,” archived Stern content, special features, and video clips recorded in Stern’s SiriusXM studio. Other interesting talk and entertainment channels include Business Radio (business, money, and life) and Crime Junkie Radio (24/7 true crime).
If you like sports, there is not only talk and analysis, but extensive play-by-play game coverage. ESPN Radio (sports talk and big games), SiriusXM College Sports Radio, and SiriusXM PGA Tour Radio (live tour coverage and talk) are just a few available stations. And there are also sports giveaway contests, such as VIP tickets to see the New York Jets play at their training camp.
Those seeking comedy on the SiriusXM app will want to check out Comedy Central Radio, Kevin Hart’s Laugh Out Loud Radio, Raw Comedy (uncensored), Pure Comedy (comedy for the entire family), and Comedy Classics. Yet another recent SiriusXM giveaway contest: an all-expense-paid trip to see Kevin Hart in Los Angeles. News junkies, meanwhile, will appreciate stations from the BBC, CNN, NPR, Fox News, and C-Span, among many others.
There are also several off-the-beaten-path channels on the app. These include Mental Health Radio (by NYU’s Langone Health), Road Dog Trucking (all things relating to the trucking industry), and Rural Radio (agricultural and other issues affecting rural America and Canada).
There’s also plenty of exclusive content to check out beyond Howard Stern such as music stations DJ’d by artists and celebrities and audio and video clips of interviews and musical performances recorded in SiriusXM’s studios. Recent videos that the app suggested for me included interviews of actor Matt Damon, comedian Will Arnet, musician Nelly Furtado, and actress Jamie Lee Curtis. Also recommended were musical performances by Upsahl and Common and Pete Rock, as well as several comedy clips by Jeff Lewis.
If all of the above were already not enough, the All Access plan also includes the full library of Pandora’s podcast stations.
SiriusXM app review: Apps and compatibility
The Sirius XM app is compatible with wireless streaming speakers from Sonos, Google, and Amazon (Image credit: Future)
Slick and attractive design
Smart channel surfing and playback features
No specific track playback, but app learns what you like
I very much enjoyed using the SiriusXM app, which is continually updated and improved and is available for iOS and Android devices, smart TVs, and streaming devices from Apple, Roku, Amazon, and Google. It looks great, is user-friendly, and works well.
The app has three main tabs. Discover is broken down by content type and is where user-specific recommended content, including daily “morning picks” are displayed. The Discover tab is also where frequently and recently listened to channels are located.
Search allows for app-wide content searches and also displays trending and popular searches. Library is where you will find your designated favorite channels (including artist channels) and downloaded content. (You can locally download content that does not contain music.) Another Library tab feature is the ability for sports fans to add favorite teams so they can quickly access team-related information, programming, and contests.
The app does not allow users to search for and play a specific music track or create track-specific playlists as you can with Spotify, Apple Music, Tidal, Qobuz, and other services, though there is the ability to create what SiriusXM calls “artist-based” stations. To find such a station, just search for an artist in the app and a relevant station will typically appear in the search results. You can then train the app to better play more of what you like by selecting a thumbs-up or thumbs-down icon for each track played on that station.
A channel may play live and/or recorded content. Under one of the app’s default settings, “TuneStart,” music starts at the beginning of a track. This feature, which can also be disabled, facilitates channel surfing since you won’t call up a channel only to hear the end of the track.
The SiriusXM app generally lets users “skip” up to six times per hour for preprogrammed music and comedy channels. Outside of these channel types, skipping is not permitted on some channels and is unlimited on others.
SiriusXM app review: Sound and Video Quality
(Image credit: SiriusXM)
Sound quality gets the job done
No high-resolution or spatial audio
Video looks great
The SiriusXM app offers Normal, High, and Maximum streaming quality settings for both audio and video. No technical specifications for compression format, bit rate, etc. are given for these classifications. Indeed, sample streams on Tidal and Qobuz, and Apple Music’s ALAC (lossless) files typically sounded better than streams over SiriusXM when I made listening comparisons. There are also no options for high-resolution audio or Atmos/spatial audio.
For video, moving from the app’s Normal to Maximum settings on my iPhone 14 Pro Max didn’t appreciably improve picture quality, even in full-screen mode – sharpness and color accuracy were great at all settings. It’s possible, however, that the Normal setting will be the best option for a stable stream if your cellular reception is poor.
Bottom line: For most people, the quality of the SiriusXM app’s audio and video streams will be more than adequate.
Should you subscribe to the SiriusXM app?
Subscribe if...
You want an enormous content catalog: Most users will never come close to taking advantage of all of the content available under the All Access plan. If you seek lots of varied content, the app is for you.
You love The Howard Stern Show: SiriusXM is the only place where you will find Howard Stern’s shows and supplemental content. The app is a must for diehard Stern fans.
Don't subscribe if...
You want to be able to play specific tracks: The app does not allow you to play specific music tracks or make track-specific playlists. Look elsewhere if that’s important to you.
You want top audio quality: We prefer other streaming services in terms of audio performance. Look elsewhere if you seek the one with the highest level of sound quality.
