Rebel Moon Directors' Cuts

Too excessively EPIC and generic and lacking in lightness of any kind to take seriously, yet still somewhat absorbing through sheer spectacle and commitment to the bit.

Hoppers

I wanted a stronger, less muddled message but that might be an unfair ask. Other than that, Hoppers has heart and zip, and some welcome weight.

(w/ L)

Sashi Perera: Fruit Tree (ACMI, Melbourne International Comedy Festival)

Likeable, professional, authentic, relatable.

Ballerina

I wasn't too fussy a watcher of this one - 'from the world of John Wick'. And so it hit the mark - Ana De Armas convincing, the world-building and action readily referable to (and reliant on) the source series, the underplayed note of humour as the seemingly sleepy Austrian village swings into full assault when Eve arrives welcome.

"2025 EOY MIX" from David

New and enjoyable: "New York, Let's Do Nothing" - King Hannah (Cassandra Jenkins-esque), "Time Waited" - My Morning Jacket (they're still going, still similar sounding), "we never dated" - sombr (young person music but still), "Secrets" - Beak> (serious fun), "Thorns" - Wolf Alice (I think the generic name's always thrown me; I seem to like them whenever I hear them).

Also Geese, Perfume Genius, the Beths and others, and Matt Berninger's upper register cover of "Heaven".

George Saunders - Vigil

Even the best can't get it right every time - for me Vigil is a miss, the style and the sentimentality too much to the fore, without the profundity and acuteness that's normally his.

Neko Case - Neon Grey Midnight Green

I don't know how she does it. We're a long way on from Blacklisted (2002) where I came in, never mind the ones that came before it. And there hasn't been a real dip since then, in quality or creativity. Fox Confessor ... (2006) was the real coming into greatness, Middle Cyclone (2009) and The Worse Things Get ... (2013) sustained - and then back in 2018, Hell-On her last till now, was equally stunning. 

It's been a long ride, and it's been a while since there was something new. And now in 2026 - Neon Grey Midnight Green came out just last year - she still sounds restless, searching, and she's still breaking new ground. There's the deliberate early roadblock of "Tomboy Gold" with its "walk sign is on to cross" chant, and on either side of that she's as assured and as willing to be circuitous as ever, with individual songs sweeping and cresting satisfyingly, sometimes melding into each other. There's a toughness to these songs and their delivery as there always has been with her, and at the same time a sort of golden flow.

Jason Isbell - Foxes in the Snow

Just Jason and his guitar, and the tunes are strong. These songwriting paths are well worn - as in, by Isbell himself - but continue to offer pleasure. There's something to be said for consistency when the quality remains this high.