Fresh on BingeAway

Right, pull up a chair, because 'Masterplan' just landed, and it's trying to nick the Mona Lisa. You'd think we'd be utterly jaded by now with the old 'master thief targets the Louvre' schtick, wouldn't you? But hold your horses, because this one throws in a right curveball: the two strangers recruited for the job are, surprise surprise, our thief’s own children. It’s a twist that elevates it beyond just another glossy caper, injecting a surprising bit of familial drama into the high-stakes art of larceny.

Does it pull off its grand promise of 'history's greatest art theft'? Well, it certainly gives it a jolly good go. The actual heist sequences are undeniably clever, with enough intricate planning and 'how did they do that?' moments to keep you thoroughly engaged. It’s not quite the brain-bending, genre-redefining stuff, but the bits and bobs of the plan click into place with satisfying precision. And the familial dynamic, while occasionally teetering on the edge of cliché, mostly works a treat, adding a layer of emotional stakes to what could have just been a cold, calculated exercise in breaking and entering. You'll find yourself rooting for these dysfunctional thieves, which is quite the achievement.

So, if you're after a film that’s a bit of a romp, a good laugh with genuinely smart moments, and don't mind a touch of heart amidst the high-tech gadgetry and laser grids, then 'Masterplan' is absolutely worth a punt. It's not reinventing the wheel, but it delivers exactly what it promises – a slick, entertaining theft with a surprisingly warm core. Skip this one if you’re expecting groundbreaking cinema or gritty realism, but for a solid evening’s escapism that doesn't insult your intelligence, you could do a lot worse. Go on, give it a whirl.

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Alright, hands up, who actually expected a *Street Fighter* movie to be anything more than an excuse to laugh at questionable fight choreography and even more questionable dialogue? Well, prepare for a surprise, because the 2026 outing, while certainly never threatening the Oscars, delivers exactly what it promises: gloriously daft fun, packed tighter than Chun-Li’s qipao with enough fan service to make you grin like a cheshire cat.

The filmmakers clearly spent their youth smashing buttons, because this thing just *gets* the game. From the perfect little UI fonts and satisfying audio cues to the signature moves and the mid-fight banter, every frame shouts 'we respect the source material!' The actual fisticuffs are genuinely intense and energetic, too – a real highlight, often punctuated by some genuinely striking 2D animated sequences that break up the live-action rather nicely. Callina Liang really stands out, bringing some much-needed presence to a cast that, while solid with Noah Centineo and Andrew Koji, occasionally feels a bit like they’re just waiting for their turn to pull off a Hadouken. My only proper niggle? At two hours, it outstays its welcome by a good half hour; a tighter edit would've elevated this considerably.

Look, if you're coming in hoping for a deep, philosophical exploration of martial arts or complex character arcs, you're on the wrong street, mate. This is a film for those who spent their pocket money in the arcades, for those who know their Shoryuken from their Spinning Bird Kick. It’s loud, it’s colourful, and it’s unapologetically silly – and sometimes, that’s precisely what you need. Skip this if you crave cinematic gravitas, but if you’re after a nostalgic, high-octane brawl with your favourite World Warriors, then crack open a cold one, switch off your brain, and enjoy the glorious chaos. It's far better than any *Mortal Kombat* film has managed recently, and that's saying something.

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Right then, 'Matchbox the Movie'. A title so wonderfully daft you half expect a stop-motion animated short, not a full-blown action-comedy starring John Cena. But here we are. And honestly? It's exactly the kind of film you think it is: a predictable, formulaic spy romp that doesn't bother to reinvent the wheel, but at least gives it a decent spin. If you're after a couple of hours of proper turn-your-brain-off entertainment, this might just be your ticket.

The real heroes here, apart from Cena's ever-improving screen presence and knack for delivering his own stunts, are the blokes behind the action. Sam Hargrave's choreography is as kinetic and solid as you'd expect, delivering some genuinely thrilling, on-location sequences that put a fair few CGI-laden blockbusters to shame. The cast, despite an age gap between the actors and their supposed character ages that's a bit of a chin-scratcher, share a decent, believable chemistry. But then there are the niggles: the 'Matchbox' connection feels tenuous at best, almost an afterthought, and the amount of product placement occasionally veers into 'infomercial' territory. You'll probably feel a slight urge to buy a Leatherman afterwards, just saying.

So, should you bother? Look, if you're not expecting a cinematic masterpiece or some profound spy thriller, and you've got a soft spot for Cena's particular brand of charisma, you'll probably have a good time. It’s a solid enough action comedy that, despite its predictable beats and a few eyebrow-raising choices, delivers on its promise of easy, practical fun. Skip it if you're after something groundbreaking or despise blatant product placement, but for a Friday night unwind with a takeaway, you could do far worse. Just don't go in expecting any deep lore on toy cars.

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Fancy a bit of a nail-biter this weekend that delves into the murky depths of respectable L.A. life? *Animals* offers up a pretty solid take on the classic 'kidnapped kid, desperate parents' trope, though it's hardly reinventing the wheel. From the off, you know exactly the kind of morally fraught tightrope our protagonists are going to be walking, and frankly, that's half the fun.

The premise itself — a mayoral candidate and his missus scrambling for ransom cash, revealing all sorts of grubby secrets along the way — is fertile ground, and the film mostly delivers. It's got a decent pace to it, ratcheting up the pressure nicely as the clock ticks down, forcing our supposedly squeaky-clean couple to get their hands properly dirty. There’s a certain grim satisfaction in watching the veneer of civility crack, even if you can spot a few of the narrative beats coming from a fair distance.

So, is it going to blow your socks off? Probably not. But if you’re after a well-executed, if somewhat familiar, thriller that’ll keep you engaged for a couple of hours, you could do a lot worse. Just don't expect it to change your life; think of it more as a perfectly acceptable takeaway on a Friday night – comforting, fills a hole, but you won't be raving about it for weeks. Perfect for a binge when you need something reliable.

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Right then, if you’re anything like me, the sheer, nail-biting audacity of the original *Fall* had you squirming in your seat, and *Deadpoint* promises more of that high-altitude dread. This time, our plucky protagonists Jax and Luce aren’t stuck atop a rusty TV mast, but rather attempting a treacherous plank walk on Mount Kwan in Thailand. And visually? Honestly, it's an absolute stunner, with those sweeping panoramic shots doing a cracking job of reminding you just how much you hate heights.

However, this sequel feels a bit like it’s chasing the original’s coattails without quite understanding its appeal. The whole setup, tying Jax to a character from the first film and framing it around grief and healing, never really lands; it’s a 'long dying hook,' as one frustrated viewer put it, that fizzles out instead of deepening the narrative. They've got a similar ludicrous premise, sure, but it’s nowhere near as bonkers or, crucially, as entertaining as its predecessor. Throw in a 'twist' that's more eye-roll than gasp, and you're left with a rather wobbly foundation for all that breathtaking cinematography.

So, who’s this for? If you’re after a beautiful, if somewhat empty, cinematic postcard from Thailand with a generous helping of vertigo, you might just find enough here to keep you mildly engaged. But if you’re hoping for a story with genuine emotional weight, smart plotting, or a satisfying payoff that justifies the gut-churning ascent, then honestly, mate, you’d be better off giving *Deadpoint* a wide berth. It's a gorgeous climb, just don't expect a thrilling view once you get to the top.

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Right, so, "Slaying a Celestial," eh? Pretty bold claim for a title. But stick with me on this one, because *Renegade Immortal: Battle of the Immortal Slayer* actually gives it a proper go. You've got Wang Lin, our plucky protagonist, stuck in a right old pickle in the Celestial Realm of Thunder, which, let's be honest, sounds like a Saturday morning cartoon's idea of purgatory. The good news? He's not just going to take it lying down. This isn't your average 'hero triumphs' fare; it’s an absolute visual feast of an underdog story that genuinely makes you root for the bloke against impossible odds.

What really pops here is the sheer scale of the thing. They've clearly chucked a fair bit of budget and talent at the animation, because the battles are just gorgeous, full of crackling energy and a real sense of impact. When Wang Lin flips the script, you feel it – it's not just a plot point, it’s a full-on spectacle. It does lean a bit heavily into the 'chosen one' trope, sure, and you might find yourself occasionally raising an eyebrow at some of the more elaborate plot machinations, but honestly, who cares when it looks this good? The pacing zips along, mostly, keeping you hooked as Wang Lin gets himself into, and somehow out of, one scrape after another. It’s the kind of escapism you crave after a long week.

So, if you’re after a bit of high-octane fantasy with genuinely stunning visuals and a hero who just refuses to quit, then you’re in for a treat. Skip this if you prefer your animation grounded and gritty, or if you're not a fan of stories where the hero has to pull a rabbit out of a cosmic hat every five minutes. But for those of us who appreciate a proper grand spectacle and a good old-fashioned David-and-Goliath tale – albeit with celestial beings and thunderbolts – then *Renegade Immortal* is absolutely worth a punt. Go on, give it a whirl.

Alright, so you've got Owen Wilson, bless his cotton socks, dropping into Brisbane with a very important organ and an even more important case of the verbal runs. He’s tasked with saving a little girl, naturally, but the real fun starts when he’s paired with the brooding, stoic muscle of Alan Ritchson. Imagine Reacher, but less articulate, lost somewhere in the Australian outback, constantly trying to shut Owen Wilson up. That’s pretty much the gist of Runner, and honestly, it’s a fair shout for a Friday night if you’re after something to switch your brain off to.

Now, don't get me wrong, this isn't exactly high art. It's loud, it's a bit daft, and there are definitely a few moments where you’ll be scoffing at the sheer implausibility of it all. The plot, with its constantly shifting layers of cartel baddies and the race against time, certainly leans into the contrived. Ritchson, for all his imposing screen presence, perhaps doesn't quite fill the boots of a commanding lead as much as one might hope, but he's perfectly watchable. It’s Wilson, though, playing the "annoying in the most perfect way" sidekick, who really brings the unique flavour here, whether you love him or want to throttle him.

Ultimately, Runner is the sort of action flick that delivers on the "action" part, even if it skimps a bit on the "logic." Sure, it's probably not going to linger in your memory for long once the credits roll, but the third act genuinely pulls things together and manages to be pretty engrossing. If you're after a brain-out romp that’s got a decent pace and a charismatic odd couple – think a very Australian 'Midnight Run' meets 'Reacher' – then you’ll probably find yourself quite entertained. Just don’t go in expecting Shakespeare, alright?

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So, Nolan's *Odyssey*. You've probably heard the rumblings, the wailing and gnashing of teeth from certain quarters about its 'accuracy' or perceived slights to ancient Greece. Honestly, ignore the noise. What Nolan's delivered is a maximalist, utterly faithful-in-spirit adaptation of Homer's colossal poem, unafraid of its own staggering scale. This isn't just a film; it’s an experience, a proper epic adventure that manages to feel both incredibly grand and strangely intimate by its contemplative close.

Forget the whispers of 'bloated' or 'boring'; this 172-minute odyssey (pun absolutely intended) weaves ten years of myth, horror, and sheer, brutal survival into a narrative so tight it actually feels more grounded than you'd expect. The ensemble cast, stacked like a Greek symposium, mostly delivers, even if a few performances might raise an eyebrow – no easy feat when you’re battling cyclopes and seductive sirens, mind. But the true star? The film’s ambition, its visual grandeur, and the way it handles the dizzying scope, drawing you into every terrifying encounter and every moment of desperate longing for Ithaca.

Look, if you're going into this expecting a dry, academic lecture on classical antiquity, you're looking in the wrong place. This is big-screen storytelling, a proper adventure that grips you from the word go and doesn't let up. Skip this if you need every historical detail nailed down tighter than a drum, or if you prefer your blockbusters served with a side of safe predictability. But if you’re up for a truly immersive, breathtakingly shot epic that’s bold enough to make a statement, then grab your popcorn – or maybe a proper Greek mezze – and settle in. You're in for one hell of a voyage home.

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The Last Sunrise pitches a rather lovely premise: a young woman, Ry, escaping a chronic illness to the sun-soaked beauty of Mallorca, only to find unexpected love and the joy of truly living. It’s the kind of setup that promises all the wistful, bittersweet romance you could ask for, and on a purely aesthetic level, it delivers. The cinematography, I'll grant you, is absolutely stunning; every frame feels like a holiday postcard, perfectly capturing the island's allure. You’ll be packing your bags, I promise you that much.

However, once you scratch beneath that gorgeous surface, things start to feel a touch… familiar. The "terminal illness meets summer romance" trope is hardly fresh, and whilst the film tries to weave in some "long-hidden family secrets," they often feel more like plot contrivances than genuinely impactful revelations. The emotional beats, sadly, frequently land with the predictability of a Sunday evening drama. The performances are earnest enough, particularly in the quieter moments, but the script leans into the kind of saccharine dialogue that makes you want to reach for a cuppa and perhaps a good cry, just not for the reasons the filmmakers intended. It’s all rather pretty and poignant, but rarely truly profound.

So, should you bother? Look, if you’re after a visually sumptuous, albeit somewhat formulaic, romantic drama to while away a rainy afternoon, and you don’t mind a good weepie that doesn't reinvent the wheel, then The Last Sunrise might just be your bag. You know the score here – if you're craving something with genuine bite or unexpected twists, you'll likely find yourself a bit bored. But for those who cherish a picturesque setting and a simple, if well-trodden, love story, it’s a decent enough effort. Just don’t expect any actual surprises.

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