Kate (Carrie Coon) is a tightly wound control freak nursing biting resentment for her half-sister Rachel (Natasha Lyonne), a pot-smoking gambler who has cared for Dad throughout his illness and lives in the apartment. 

The mediator between the two is middle sis Christina (Elizabeth Olsen), a sweet soul who does yoga between the mismatched furniture and misses the new family she has created hundreds of miles away. As the three discuss DNR orders, food prep and – inevitably – the past, the true nature of their relationships – with each other, with Dad – comes into stark view. 

Though initially brittle (both in terms of performance and tone) and difficult to fully engage with, this meditation on family dynamics and the pressures on women as caregivers warms up thanks largely to Lyonne’s earthy presence. Showing up with a spliff, sports jersey and a musical accent, she’s immediately different, sympathetic and real in an environment of unspoken slights. 

The emotional resonance she conjures eventually extends to the other characters, with the film building to a moving moment that’s all the better for being played with a whimsical touch. There’s solid support, too, from Jovan Adepo (Babylon, 3 Body Problem), whose turn as Rachel’s no-BS boyfriend is instrumental in earning the film its satisfying wrap-up.

His Three Daughters is released in selected US theaters and UK cinemas on September 6 before coming to Netflix on September 20. 

For more, check out our guides to the best Netflix shows and the best Netflix movies to watch right now.

Coming in at $169.99, the Anbernic RG Cube isn’t the most expensive best gaming handheld contender around, but costs more than your average emulation device. It’s just expensive enough for me to consider it a portable console for enthusiasts rather than casual players, as most of its features cater to emulation power users. If you’ve been eyeing something like the $64 Anbernic RG35XX Plus, the cube will be a significant investment. But, compared to the Steam Deck OLED, it will feel like a sweet deal for anyone solely looking to run classic capers. 

Surprisingly, the RG Cube has a rival with a square screen, namely the Powkiddy RGB30, meaning it doesn’t feel unique within the space. That said, Anbernic’s choice of specs, buttons, and touchscreen make it a reliable Android gadget for emulation that pulls off simulating the dual-screen functionality of the OG Nintendo DS – something I’ve been waiting literally years for.

Specs

At the core of the RG Cube beats an octa-core Unisoc T820 processor alongside quad-core Mali-G57 graphics, 8GB LPDDR4X RAM, and 128GB flash storage. That’s not remotely shabby considering we’re dealing with an Android 13 emulation device, and it provides the handheld with a suitable punch for running most retro consoles.

The Cube’s 3.95-inch IPS square screen is also more impressive than you’d think, boasting a 720 x 720 resolution and multi-touch capabilities. Typically speaking, devices like this tend to stick with lower resolutions since they don’t look as bad when only occupying a few inches, but Anbernic has gone the extra mile. Do retro handhelds need near-HD resolution? Not always, but it’s nice to have the headroom available since we’re talking about an Android 13 device with Play Store access. 

Other Cube perks include a 5,200mAh battery, support for up to 2TB microSD cards, hall-effect thumbsticks, Bluetooth 5.0, and 2.4/5G Wi-Fi. The latter connectivity options are arguably essential, but all still help boost the handheld’s functionality in a similar vein to a gaming phone. That’s not to say you have to take this device online or connect wireless accessories – the option is just there if you want to use it as a cloud streaming machine or a stationary console. 

Design

Visually, the Anbernic RG Cube feels fictional, and I mean that in the best possible way. Its square screen sandwiched between a set of modern controls feels like made-up tech you’d see in a ‘90s anime, usually dressed with a logo that boldly reads “Bentendo.” If those references are currently flying over your head, it also has a similar vibe to the clam-shell cell phone in the horror film It Follows, designed to throw the viewer off when working out when it’s set. 

My point is that the RG Cube almost looks conventional until you notice its squareness, which provides it with a memorable timeless charm. Again, the Powkiddy RGB30 technically uses the same format, but that doesn’t make Anbernic’s take any less attractive. I’d actually say the company has taken things a step further by adding an asymmetrical thumbstick layout and circular d-pad, as it helps give it similar ergonomics to portable PCs like the Asus ROG Ally. 

On that note, the RG Cube is surprisingly comfortable in the handles despite its compact nature. Subtle grips are present around the back to give your fingers somewhere to rest, while subtle curves ensure the handheld rests in your palms without causing strain over time. Anbernic has even made sure to keep its cooling away from the sides with a circular vent in the middle, meaning you won’t have to worry about potentially blocking any ventilation.

I never pick up emulation devices expecting exceptional build quality, but the RG Cube completely caught me off guard with how solid it is. The console’s body feels pretty weighty at 260g (0.57 lbs), and there are no areas that feel remotely hollow across its high-quality plastic shell. All of the device’s buttons are pleasing clicky and avoid any notion of mushiness, with the top bumpers using tactible micro switches. Even the triggers are far better than I was expecting, as they boast smooth action and decent grip.

Aesthetically, the RG Cube is also a looker. I’m testing the off-white version with multicolored face buttons, and I think it might be the nicest-looking handheld to release this year. Striking a balance between nostalgic design choices and contemporary layout isn’t easy, but Anbernic has certainly managed to pull it off. Plus, I’m a big fan of elements like ventilation and speakers being kept to the sides and back rather than the front, as it gives the overall presentation a nicer finish. There’s even some nicely diffused RGB lighting around the sticks, just in case you’re into flashy vibes.

Features

Anbernic could have merely shoved Android 13 on the RG Cube and called it a day, as the OS is packed with its own features and storefront. Instead, the company includes a launcher for every emulator you could possibly need, which can be quickly accessed using a dedicated face button if you’d rather avoid Android altogether. Of course, you can still launch Retroarch or any other app yourself, but it’s nice to see some sort of management system included with this specific handheld. 

While I consider the Cube’s 1:1 screen to be a main feature, putting the display to good use is key. playing games at ordinary aspect ratios will feel a little silly, as even a traditional 4:3 setup will result in letterboxing. However, the handheld will fill in the gaps using themed bezels when using the launcher and Retroarch, and I’m low-key in love with the mock TV frames when playing PlayStation and Sega Genesis (Mega Drive) games. 

Not every emulator will have access to overlays, meaning you will have to deal with either stretch-to-fill or letterboxes, but unless you’re playing 16:9 games, the aspect ratio shouldn’t be much of an issue. I’m not saying that you should play every game at 1:1, as while there are plenty of classics out there designed with square pixels in mind, some are specifically made to suit old 4:3 CRTs. But, the releases that do look right, like most Game Boy games like The Legend of Zelda: Oracle of Seasons are an absolute joy to play thanks to the handheld’s screen.

The fact the RG Cube also uses a touchscreen is a massive boon, as it means the display’s usual aspect ratio is perfect for playing DS games. Technically, you can emulate Ninty’s old handheld on most devices, but fitting the dual-screen layout on most screens is awkward. Even the Ayaneo Flip DS can’t use its unique clamshell setup to replicate the experience, as the Windows version of DeSmuME can’t split its windows across two monitors. So, Anbernic’s square approach feels like the perfect compromise, as it provides just enough vertical space to fit everything in while minimizing letterboxing at each side. 

As a handheld hybrid cherry on top, the RG Cube also has a few ways to connect to an external gaming TV or monitor. If you’ve got a Displayport-compatible screen to hand, you’ll be able to hook straight up using USB-C. Prefer to cut the cord? Android also facilitates excellent screencast features that make streaming to big screens a breeze. I was able to instantly use Anbernic’s portable as a living room console using the LG OLED G4, and while there’s naturally some latency to deal with, the experience was pretty fantastic. So long as you don’t try and play anything that requires pinpoint timing accuracy, you’ll have a blast.  

Performance 

To put the RG Cube through its paces, I loaded Anbernic’s handheld up with several retro outings. All my picks are games I’m extremely familiar with in terms of visuals, with some pushing emulation devices in terms of performance and stability. Easing the portable into my roadtests, I started off with Sonic the Hedgehog 2, which unsurprisingly ran flawlessly on the handheld at full speed. Not exactly an achievement, but a green flag before diving into more intense tasks. 

Stepping through the generations, I next loaded up some PS1 favorites, namely Crash Team Racing and Tekken 3. Naughty Dog’s cart racer managed to maintain a steady frame rate scaled to 720p, serving as a testament to Anbernic’s resolution and chipset combo. Namco’s fighter also worked a charm with the same 3x scaling setting applied, confirming that the handheld makes for a pretty nifty OG PlayStation stand-in. 

PS2 is where things start to get ever so slightly dicey. I’m not talking about any deal-breaking performance dips, but I had to fall back to under x3 native resolution to prevent frame dips when running Final Fantasy XII. You’ll still end up with a higher res than the RG Cube supports anyway, so this is still a win for Anbernic. Yet, I actually had a bit more luck with Ikaruga on the Dreamcast at full speed despite scaling to 1440p. Not remotely required, but it’s nice to know it can handle Sega’s 32-bit console beyond native resolution.

As you’d perhaps expect, RG Cube performance will diminish past sixth-gen systems, but as I previously alluded, it’s fantastic for DS emulation. There’s plenty of space to place a dual-screen layout on the touchscreen, and I was able to easily play personal favorites like Dragon Quest Monsters: Joker and The Legend of Zelda: Phantom Hourglass without a hitch. Not heavyweight games by any means, but it means you can play your old handheld games despite Nintendo shutting down every modern way to re-buy them.

If you’re itching to ramp things up to 3DS, I’ve got some great news for you. The RG Cube is a bit of a champ when it comes to handling the Switch predecessor’s library, as I was able to play Zelda: A Link Between worlds with a fairly steady frame rate. Just like with the DS, you’ll be able to fit both screens on Anbernic’s square display, but the touch space is admittedly a little smaller.

Of course, it’d be a crime not to delve further into Game Boy games on the Cube, as that square display is perfect for pixellated romps. Would I choose to play GBC games on Anbernic’s device rather than my OG Game Boy Color with an OLED screen? Well, you are getting a larger play space and swish controls here, and the vibrancy provided by the IPS display is commendable. Plus, the whole point of buying an emulation machine is so you don’t have to take a bag of old systems with you on your travels, even if that’s what I’d like to do ideally.

To close things out, I want to touch on playing Google Play store downloads on the RGB Cube. My quest got off to a disappointing start, as I ambitiously installed Alien Isolation for funsies and failed to get to the main menu. I was able to get it working on the Asus ROG Phone 8 Pro, which perhaps isn’t surprising since it’s a high-spec monster, but it’s apparently dicey on a bunch of other modern cell phones, specs might not be to blame. On the flip side, I was able to get into Call of Duty: Mobile, with the caveat being that the integrated controls won’t work without some sort of mapping app. 

I don’t want to outright say don't play Android games on this device, as it should be able to pull most off with acceptable frame rates. What I will say is that everything about this portable is made with retro gaming in mind, and if you really want a Genshin Impact machine, you should probably check out the Razer Edge.  

Battery life

I was expecting great things from the RG Cube’s 5,200mAh battery, especially since Anbernic claims you’ll get 7 hours of play. Turns out the handheld can absolutely pull that off, as I managed to squeeze around 8 hours out of it during a typical day. However, what really impressed me was the portable’s idle runtime, with things only dropping to 17% after being left on standby for well over a week. That’s something you won’t get with many other devices and is ideal if you just need a console for occasional use.

Should you buy the Anbernic RG Cube?

Out of all the retro handhelds to release this year, the Anbernic RG Cube is undoubtedly one of the most versatile. If you’re looking to easily dive into emulating the classics without messing around or you’re something of a pixel purist, this portable will serve you well. It’s also incredibly useful for playing DS games or anything that needs a bit more vertical space, including arcade ROMS with a vertical TATE mode. 

Not everyone is going to vibe with the RG Cube’s 1:1 screen, and it’s easy to understand why players would rather opt for a 4:3 handheld. That said, I firmly believe there are more pros than cons to keeping things square in terms of retro gaming, especially if you also want excellent quality controls and full Android capabilities. 

The RG Cube might be a square weirdo, but it’s my square weirdo, and I hope more companies release useful little oddballs like this.

How I tested the Anbernic RG Cube

For a month, I used the Anbernic RG Cube as my main handheld for playing retro games. During that time, I played a setlist of test ROMs for future performance comparisons, including Sonic the Hedgehog 2, Crash Team Racing, Tekken 3, Final Fantasy XII, and Ikaruga in addition to various other classics and specific DS releases. Throughout my time with the console, I also took ergonomics and build quality into consideration, comparing the experience to both other portable devices I’ve reviewed. 

For more information on how we test gaming handhelds and other portable devices, check out our GamesRadar+ hardware policy.  

Already got Valve's handheld PC? Swing by the best Steam Deck accessories and best Steam Deck dock for excellent add-ons. Alternatively, take a peek at the best gaming phones if you'd prefer an all-in-one Android device.

With Astro Bot, the publisher – and talented developer Team Asobi – have more than delivered on that potential, crafting an incredibly polished, near-perfect platformer that not only earns the right to be discussed alongside Nintendo's flagship series, but actually rivals the mustachioed mascot's best princess-rescuing romps. 

Like its predecessor, Astro Bot puts players beneath the gleaming white space suit of its titular, planet-hopping protagonist. This time, however, the adorable hero hasn't set off on a proof-of-concept quest dictated by the DualSense, but is rather embarking on a sprawling, standalone adventure completionists could easily sink 20 or so hours into. 

Doubling down on the DualSense

That's not to say Astro Bot doesn't leverage the PS5 controller's innovative tech. On the contrary, the feature-packed platformer doubles-down in this regard, utilizing the peripheral's haptic feedback, adaptive triggers, internal speaker, integrated microphone, and gyroscopic motion to significantly ratchet the immersion. 

But while its predecessor was occasionally – and maybe intentionally – guilty of being a bit gimmicky, shoehorning in some of the ways in which you could use the gamepad, Astro Bot's thoughtful implementation always feels organic to the on-screen action. Tactile uses, such as piloting your hero's DualSense-like spacecraft with motion gestures, as well as palpable sensations, such as pulling back a slingshot or traversing different surfaces, work wonderfully. 

It's the incredibly detailed and layered audio emitting from the controller's tiny speaker, however, that elevates the experience with each literal step the little robot takes. Every action is accompanied by some sort of sound effect, and the variety and nuance is astounding. Flowing water, for example, isn't limited to a single audio cue, but is rather represented by a wide range of sounds, from the subtle plink of raindrops on a vinyl umbrella to the tidal wave that seems to build inside the controller when you hurtle down a waterslide. Whether you're swimming, splashing, or simply wringing the soggy stuff from a sponge, you can expect a different, detailed effect to, er, spill from the DualSense's speaker. 

While the gamepad's smartly leveraged technology certainly ups the immersion, Astro Bot would succeed even without the benefit of the peripheral's bells and whistles. Thanks to snappy, responsive, precisely-tuned controls, it would be a total blast to play even if stripped of the controller's slick inclusions. In fact, I can't remember the last time it felt this satisfying to simply move, jump, and melee-smash objects in any game, regardless of genre. 

Astro Bot and beyond

But while these basic inputs are incredibly rewarding to execute, they barely scratch the surface of the brave bot's arsenal and its related interactions. Spread across 50-plus, level-packed planets, the game's main quest calls on the protagonist to not only collect parts to repair its crashed ship – which resembles a spacefaring PS5 – but also rescue up to 300 robot allies along the way.  

Completing these objectives, and tackling all the platforming challenges, clever puzzles, enemy encounters, and epic boss fights that come with them, requires Astro Bot to master his core moveset – which also includes foe-frying hover boots – as well as smartly utilize level-specific power-ups. Typically taking the form of animal-inspired backpacks, these advanced abilities allow Astro Bot to do everything from climb like a monkey and swim like a penguin to shrink down to the size of a mouse.

Varied and imaginative, these skills significantly elevate Astro Bot's already solid platforming action. The more basic, aforementioned upgrades are a ton of fun to unleash, but there's also a handful of incredibly inspired powers that could support an entire game's campaign, let alone a few levels. 

Favorites include the ability to turn Astro Bot into a sponge, a skill with a surprising amount of benefits. Jumping into a pool of water as this super-absorbent version of the hero will dramatically increase its size, allowing the bot to barrel through levels like the Kool-Aid Man. But players can also expel water from the spongy protagonist, shrinking him down to normal stature while putting out fires or expanding equally absorbent objects to create usable platforms. 

Amazingly, these power-ups are rarely recycled throughout the lengthy campaign. And when they do return, it's usually with some fresh tricks up their sleeves. Early on, for example, you'll don an elephant backpack with a vacuum cleaner trunk that essentially morphs Astro Bot into a balloon. When initially acquired, the ability can be used to drift upwards or descend by letting air out of it. Many hours later, however, the pachyderm-inspired power-up returns with the fresh ability to inflate enemies until they pop. 

Learning which upgrade you'll be using upon landing on each planet is almost as exciting as discovering the levels themselves. Setting down on a new planet – by flying toward it with your gyro-powered ship – is always a delight, as each is entirely different from the last. The variety and creativity on display is pretty astounding, with each of the game's six or so planetary systems populated by at least a half dozen individual destinations, all with their own style and personality.

Where similar experiences might offer multiple themed lands filled with similar looking levels, Astro Bot ambitiously goes above and beyond to ensure you're never seeing the same thing twice. And this is before you consider all the secret levels, bonus challenges, and a homebase-like crash site brimming with even more activities to engage in, collectibles to gather, bots to rescue, and cosmetics to acquire. 

A galaxy of fan service

Astro Bot's astonishingly varied levels will take you beneath the sea, above the clouds, and to every mind-bending destination in between. But PlayStation fans will also get their passports stamped in a few familiar areas based on favorite franchises, like God of War and Uncharted. These planets don't quite pack the creativity of the title's more original efforts, as their gameplay and settings are generally dictated by their respective series. Playing as the Nathan Drake-based bot, for example, will find you mostly shooting your way through a trap-filled jungle environment. 

This is a minor gripe though, as the fact these fan-pleasing levels exist at all feels like extra icing on an already calorie-dense cake. Of course, the game also pays tribute to PlayStation's past by theming more than half its rescued robots after iconic characters from games stretching all the way back to the PS1 era. Sony piles the fan service high, including plenty of mainstream and cult-favorites, as well as dozens of deep cuts, and even a decapitated head (thanks, God of War.) 

More than just optional collectibles though, these characters nicely tie into the game's progression, as unlocking each planet requires a specific amount of rescued robots. Collectors and completionists alike can also invest in cosmetics – using gathered coins – to accessorize their adorable allies, which keep busy at the crash site while you're off adventuring. 

Mileage will vary based on your roster of rescues, but a quick glance at your homebase might reveal Joel and Ellie fighting an infected foe just a few feet from Journey's Traveler knitting a scarf, while Psycho Mantis creepily lurks in the background. 

Like every other aspect of Astro Bot, its visuals raise the bar and then some to deliver one of the prettiest games to ever appear on a PlayStation console. Packed with vibrant personality and drenched in immersive details, it sports an endlessly polished, eye-popping presentation to rival anything Pixar has ever put on the big screen. A near-perfect platforming game and probable game-of-the-year contender, Astro Bot justifies a PS5 purchase as much as any Norse God-slayer or fungal apocalypse survivor. 

"Let’s give the people what they want," says Lady Gaga’s Harleen ‘Lee’ Quinzel (aka Harley Quinn) at a key juncture in Joker: Folie à Deux. It’s a perverse statement for a film that seems stubbornly committed to giving audiences quite the opposite. 

The much-anticipated sequel to Todd Phillips’ Oscar-winning box-office champ is a bold departure from its lauded/loathed predecessor, but it’s also a far less effective vehicle for its tragi-comic subject and lead actor. Two years after his murder spree, Arthur Fleck (Joaquin Phoenix) is now committed to Arkham State Hospital’s brutal E-Ward, awaiting trial and a potential death sentence if peacocking DA Harvey Dent (Harry Lawtey) has his day in court. 

In music-therapy class Arthur meets Lee and sparks soon fly – literally when his arsonist admirer tries to burn Arkham down as an act of love; later, she becomes Joker’s biggest cheerleader in court.

Beyond the inclusion of Lee – here stripped of the character’s usual hallmarks and reduced to a spectator for much of the film – Folie à Deux’s biggest swing is that it’s a jukebox musical, featuring '60s chart-toppers and Golden Age Hollywood hits. Arthur and Lee break into song with relentless regularity, and when there hasn’t been a spot of spontaneous warbling for five minutes, a fantasy dance sequence is typically moments away. 

These stylized soundstage numbers are exquisitely shot – as is the rest of the film – by returning DoP Lawrence Sher. Gaga, likewise, gives them her all. But song and dance isn’t Phoenix’s forte and there isn’t enough razzle-dazzle to the choreography or staging to impress on a technical level.

Of the other musical crimes, reducing Hildur Guðnadóttir's sublime doomstrings score to second chair deserves a spell in Blackgate Penitentiary, particularly when it so perfectly rendered Arthur’s mental state in the first film.

Even worse, musical numbers are frequently deployed as the dramatic crescendo of a given scene. The upshot is that the pacing and momentum in otherwise dramatically compelling sequences – a tense interview with Steve Coogan’s needling TV host Paddy Meyers being an example – is derailed as Arthur changes gear to put his thoughts into song, with most tracks seemingly selected for their painfully on-the-nose lyrics. Rarely has a film been so senselessly devoted to sabotaging its rich set-ups with flat pay-offs.

Unlike 2019’s Joker, a knotty film with big ideas and profound empathy for its central figure, Folie à Deux feels smaller and more insular. Gone is the sense of Arthur’s explosive transformation mirroring a Gotham City at a tipping point. The film hardly even ventures beyond the claustrophobic walls of Arkham or the courthouse. 

Instead, it’s focused on the Arthur/Joker dichotomy – who is really in control? And can Lee tip the balance? However, given how few true ‘Joker’ sequences feature, it’s clear where Phillips’ interests lie. Folie à Deux wants Arthur to reckon with the consequences of his (admittedly very criminal) actions and seems content for him to suffer without any of the first film’s devilishly transgressive catharsis. 

The result is resoundingly downbeat to the point of feeling mean-spirited. There’s no question Folie à Deux is a film made with integrity and an uncompromising vision, but evidently they can’t all be hits.

Joker: Folie à Deux is released in US theaters and UK cinemas on October 4. 

Space Marine 2 relishes in this excess – every second is spent in shuddering violence and vast, gorgeous battlefields. Developer Saber Interactive has crafted an outrageously over-the-top hack 'n' slash shooter, and while Warhammer fans would expect nothing less, newcomers to this grimdark universe couldn't ask for a better (or bloodier) introduction. 

Go big or go home

Though it's been 13 years since the original Space Marine launched, over 100 years have passed for returning hero Demetrian Titus. After being accused of heresy at the end of the first game – which you don't need to have played for this – he's spent the last century banished from his own Chapter of space marines, and fights in the elite xeno-hunting Deathwatch. When a hive-mind of insectoid, scythe-armed Tyranids descend upon a system of planets housing a secretive Imperium research project, Titus is tasked with re-joining his Chapter to save the day. 

However, hulking squadmates Gadriel and Chairon are distrustful of Titus' long absence, while Titus himself is frustratingly standoffish. This translates to a lot of catty snark – space marines are many things, but emotionally literate they are not – but we don't get to explore these tensions in any real depth, which leaves the story a little shallow. Dialogue can be boiled down to 10 hours of the word "brother," while the straightforward yet serviceable story rarely reaches beyond carrying players from one desperate shootout to the next.

Luckily, those fights are what we're really here for – and by the Emperor, they're phenomenal. Saber Interactive is the developer behind 2019's World War Z game, and its experience with horde-based combat shows. Watching hundreds of Tyranids crest over a hill toward you, or form squirming pyramids to climb over each other and reach your high ground, is dangerously mesmerizing. But you've only got a small window of time to take as many as you can out from afar – whether that's thinning out chaff with fully-automatic bolter fire, lobbing grenades, or whittling down bigger foes with charged plasma rounds and careful lasrifle shots – before the real chaos kicks off. Once you're in the thick of things, combat devolves into vicious hand-to-hand fighting, where you'll often struggle to win enough room to start shooting once again. There's no cover system, so your only means of staying alive is to be aggressive – dealing damage restores health, while killing weakened targets with gory execution animations regenerate your armor plating. 

It's a thrill – every fight feels like you're constantly fighting just to avoid drowning, but Titus still feels like the strongest soldier in nearly any given battle. A single swing of his chainsword can tear through entire rows of baddies, and parrying is supremely satisfying as in most cases, it allows you to kill your attacker in a single gory animation. One of my favorite executions remains grabbing a bestial demon by the throat and squeezing, which produces an effect I can only compare to squishing a banana so hard its insides fly out of the peel. Tougher enemies, such as Tyranid Warriors (picture a Xenomorph with a sword) and Chaos Space Marines, can take a bit more back-and-forth before they'll drop their guard, but parry enough of their blows and you'll get an opportunity to execute them with a point-blank pistol shot to the head or grisly bisection. 

It's incredibly fluid, although the formula takes a wobble toward the end of the adventure. You start coming up against more of these special enemies at the cost of fewer giant hordes, and fights start getting a little bit longer range as more baddies get guns – which is a shame, as shooting by itself isn't as interesting. But when Space Marine 2 gets that balance of gunplay and melee right, there's nothing quite like it – it's like watching an exceptionally well-choreographed fight scene, except you're the one ripping Chaos Space Marines' heads off with your bare hands while turning their puny cultist pals to juice with a single bullet. It flows so naturally that you really do feel like the centuries-old death machine Titus is meant to be – you're a formidable soldier facing overwhelming odds, a power fantasy I haven't felt so strongly since the Xbox 360 days of Halo and Gears of War.

A large part of what brings that feeling to life is the scope of Space Marine 2. Whether you're in the overgrown jungles of Kadaku, larger than life gothic city on Avarax, or Demerium's Chaos-warped hellscape, Saber's bigger-is-better approach makes it feel like you really are fighting in a planet-spanning war. I lost count of the times I'd stop to admire laser batteries firing into clouds of flying Gargoyle Tyranids, or Space Marines duking it out with their evil cousins across Demerium's vast purple battlefield. There are some brilliantly claustrophobic setpieces – one Alien-inspired segment starts with Tyranids stalking you through dingy service tunnels, and culminates with a frantic shootout in complete darkness – but Space Marine 2 thrives when it makes you seem very, very small.

Shore leave

These planets are also the setting of Space Marine 2's Operations, six missions that take place alongside the campaign's events. Operations can be played with three players, but unlike the campaign, co-op feels mandatory for getting the most out of this game mode. While the two AI squadmates are serviceable on easy and normal difficulty, they don't pull their weight above that. As if to emphasize the importance of playing with friends, Operations can't be paused, even if you're playing with AI. This is particularly frustrating as missions tend to be quite long – at one point I was kicked out of my own game for inactivity, which meant losing around 20 minutes of progress. But when playing with other people, Operations are a blast. The six missions currently available are closer to Left 4 Dead than what's on offer through the core campaign, as ammunition and healing items are scarcer, while enemies attack in more choreographed waves. Your gear is also restricted, as here it's broken up into classes. This adds an interesting layer of strategy – you might opt for the Assault class, which gets a Thunder Hammer and jetpack to wade into the thick of things, while someone else uses the Sniper class to take out priority targets from afar.

While Operations are significantly harder than Space Marine 2's campaign, they also offer more incentive to keep coming back, as currency and XP rewards can be spent on armor customization, gun upgrades, and class perks. Tweaking your armor feels a little padded for replayability – rather than buying your favorite Chapter's armor set, for example, you need to buy each piece of it individually – but on the upside, this part-by-part approach means there's enough depth to make the mish-mashed space marine of your dreams.

The only part of Space Marine 2 I didn't get to play ahead of launch due to matchmaking restrictions is Eternal War, a set of three 6v6 PvP modes with Warhammer twists on team deathmatch, domination, and king of the hill. But from the 17 hours I've had with everything else, it's hard to imagine anything outshining Space Marine 2's PvE offerings. This adventure is a monument to excess, but it's hard to imagine it working any other way. If anyone tells you that a game doesn't need motorized swords and eight-foot tall supersoldiers who can throw around heretics like ragdolls, consider what else they may be lying about – Warhammer 40,000: Space Marine 2 is pure, ridiculous fun, and the best third-person shooter I've played in years. 

High-end 16-inch machines aren’t too rare, but the Lenovo Legion Pro 7i Gen 9 strikes a perfect balance between luxury design and price, all while pushing those frames to their limits. That makes for a particularly impressive experience in one of the best gaming laptops on the market right now - and one I’m yet to see matched elsewhere.  

I’ll be measuring the Lenovo Legion Pro 7i Gen 9’s design, features, and performance against the Gen 8 model I reviewed last year, as well as the Asus ROG Strix Scar 16 and Razer Blade 16. While only available in an RTX 4070 configuration, I’ll also be cross-referencing the Legion Pro 7i Gen 9 with the Alienware M16 R2 for value purposes, particularly due to its considerably lower $1,899 MSRP. Of this comparison pool, the 9th generation Legion falls in the middle of the price range. Both the Blade 16 and Asus ROG Strix Scar 16 are more expensive in their RTX 4080 configurations ($3,599 and $3,299 respectively), but the previous generation Legion Pro 7i 8th Generation comes in a little cheaper at $2,549. 

Design

I naturally favor a slimmer gaming laptop, preferring the skinnier form factor of a Razer Blade or ROG Zephyrus over chunkier alternatives. That does generally mean I sacrifice some performance in the laptops I pick up for myself - Lenovo seems to have fixed the problem. The Legion Pro 7i Gen 9 isn’t quite as svelt as the Razer Blade 16 or Asus ROG Zephyrus G16, but it’s miles away from the chonk of an Asus ROG Strix Scar 16. While still fairly heavy at 2.79kg (the exact same as last year’s model, and heavier than the 2.48kg ROG Strix Scar 16, 2.61kg Alienware M16, and 2.4kg Blade 16), it fits neatly into a backpack and - provided you’ve got a bag without enough support - should be comfortable to transport. I used a particularly reinforced backpack to take the machine on a half-hour walk and it was certainly more noticeable than the Razer Blade 14 I use day to day, it was far easier than an 18-inch behemoth would be. 

That weight is dense, though, because the actual silhouette of the device isn’t particularly cumbersome. Tapered edges keep things feeling as svelt as possible, and a cool matte black finish keeps things streamlined and subtle. The top lid carries Lenovo’s brand tag in the left corner, with a glossy ‘Legion’ logo running along the right-hand side, but that’s it for major branding. Switch those RGBs off and this could be a regular office laptop. If you do prefer to keep that gamer aesthetic loud and proud, you’ll find a slick set of per-key customizable LEDs under the main keyboard and a particularly streamlined strip of light erupting from the bottom of the front lip. While the Strix Scar also offers extra RGB lighting around the edge, Lenovo’s implementation feels far more refined. 

The main deck is constructed from an aluminum base, with a thinner plastic top lid. I was surprised to find some flex inside, though it’s only apparent when expressly pushing for it unlike the Razer Blade 16 which never seemed to buckle no matter how hard I pressed. The screen panel does have a little wobble to it - but generally only when moving the hinge downwards slightly. Opening up the clamshell with one hand was slick and smooth with no extra movement once my hand had left. There’s also remarkably little flex in the lid as a whole - impressive considering just how thin this piece is. That’s a well-built hinge, and it has to be - the whole screen can lay 180 degrees flat. I’m not sure why you’d need that on a gaming laptop, but everyone loves an extra option.  

Like with many matte black gaming laptops, the top lid and palm rest area of the main deck can collect fingerprints and show dust particularly keenly. These smudges do wipe away pretty easily, but you’ll need to keep a cloth handy if you want it looking pristine day after day.  

Features

With no new graphics cards out this year, Intel’s processor upgrades aren’t quite enough to separate 2024’s roster of gaming laptops from the previous generation. The majority of gaming laptops I’ve tested have only just nudged ahead in performance with this new tech under the hood. Instead, many machines have opted to pump more of a focus into their displays in order to keep those price tags interesting, with high refresh rate OLEDs making their way to the Razer Blade 16 and other Mini LED tech taking on more of a role. Lenovo has opted to keep its IPS display for this generation but has vastly improved its color separation.  

The 9th generation covers 100% of the DCI-P3 color gamut, on top of the sRGB coverage the previous generation already offered. That makes for a far more vibrant picture on-screen, with detailed and faithful color representation and extra attention to finer details. It makes games feel more vivid and expressive, but also brings content creators into the fold, allowing for realistic color touching on the laptop’s main panel. Of course, you’re still getting that 1600p resolution and 240Hz refresh rates - par for the course in a 16-inch machine of this price. There’s also an anti-glare covering that works particularly hard to keep reflections away from your screen. Usually, this leaves pictures dulled, but I was particularly impressed with the Legion Pro 7i’s implementation - colors remain just as powerful even under direct sunlight, with only a little drop in contrast. 

Lenovo has paid the same level of attention to the Legion Pro 7i Gen 9’s keyboard. You’re getting a full-sized deck here, a rarity even among 16-inch gaming laptops, and a particularly satisfying one at that. Each key has a bouncy 1.5mm of travel, offering up an energetic but still precise typing feel thanks to the concave shape of the keycaps themselves. There’s a snap to each press that provides a little more tension than you might find in other decks, but that tension keeps things feeling crisp rather than falling into mush. Lenovo has also designed its keyboard to allow for full-sized arrow buttons, whereas other machines like the Razer Blade 16 often shorten these keys for the sake of space. Instead, there’s a good amount of balancing between each key, and the RGB shines through beautifully. The trackpad is a little smaller than I was expecting, but is still comfortable and smooth to use. 

Like all the models in my comparison pool, the Lenovo Legion Pro 7i Gen 9 features two USB-C ports – both offering DisplayPort 1.4 and power delivery functions and one with Thunderbolt 4. You’ll also find four USB-A ports to choose from, lined up across each side of the machine - that’s more than Alienware, Asus, or Razer have added to their rigs. They’re a little slower than their competitors, though, running at Gen 1 speeds instead of the Gen 2 ports we generally see.  

Theoretically, that means your 2.4GHz dongles or wired peripherals will transfer information at half the speed of more modern ports. In the real world, it’s not going to make much of a difference for most players at the moment, it’s really only a problem for those with the latest and greatest peripherals. A USB port can only run as quickly as the cable, and most gadgets are still released with USB 2.0 receivers and wires. A USB 2.0 cable is only ever going to run at its own top speed, which is going to be lower than the maximum speed for a USB 3.2 Gen 1 port, let alone USB 3.2 Gen 2 port. If you’re concerned, check inside the USB sections on your cables - if the small piece of plastic is black or white, then you’ve likely got a USB 2.0 cable (a USB 3.0 cable will generally use a blue piece of plastic). 

Now that we’ve got all the boring port chat out the way, it’s time for one of my favorite parts of any gaming laptop design - rear I/O! The Legion Pro 7i places most of its connections towards the back, helping you keep a tidy desktop without cables spilling over the sides of your laptop - it’s the little things that count.  

Performance

The RTX 4080 GPU and new Intel i9-14900HX processor help the Lenovo Legion 7i Gen 9 float to the top of the middle of my testing pack. While it can dominate in certain runs, it sometimes falls behind the older Asus ROG Strix Scar in others. Ultimately, though, the Legion is using its enhanced cooling and sustained thermal controls for good, offering up some impressive numbers especially when standing next to (admittedly skinnier) machines with RTX 4090 graphics cards. 

3D Mark’s synthetic Time Spy and Fire Strike benchmarks test a system’s rendering capabilities, putting both the CPU and GPU under a stress load and assigning a value to its reliability and speed. Time Spy saw the best success for the Lenovo Legion Pro 7i Gen 9. The chunkier rig outperformed the MSI Raider GE78 and the Asus ROG Strix Scar 16 - both impressive 16-inch machines in their own right. The slightly trickier Fire Strike test did give the Legion something more to think about, dropping it below both models but still above the notably skinnier Zephyrus G16. 

However, it was in-game benchmarks that truly showcased the speed of the Legion. At 1080p, the Lenovo Legion Pro 7i consistently outperformed the Asus ROG Strix Scar 16 and sometimes even bested the RTX 4090 Razer Blade 16. Considering the price difference between the latter configuration and our $3,069.99 build (roughly $800), that means the additional cooling and extra space are doing some serious heavy lifting here. Not bad for a machine that doesn’t feel like a cumbersome rig. Shadow of the Tomb Raider and Total War: Three Kingdoms were safe 100+fps bets in this FHD category, with those numbers only starting to suffer once Returnal got its hands on our components. This is a far more demanding game, and the biggest test I throw at each laptop during the benchmarking process. Sticking close to 100fps even in Epic settings is no mean feat considering an RTX 4070 machine like the Alienware M16 R2 will be threatening to drop to 60fps instead. 

QHD+ performance dropped slightly in some games and more drastically in others. Bumping things up to 1600p took less of a toll on the system in games like Shadow of the Tomb Raider and The Talos Principle 2 than it did in Returnal and Total War: Three Kingdoms. The Lenovo Legion was still top of the pack in these two easier runs, but still managed to float ahead of the Asus ROG Strix Scar 16 in Total War and held a very much still-playable 71fps average in Returnal at max settings. 

Should you buy the Lenovo Legion Pro 7i?

The Lenovo Legion Pro 7i can sail you past the luxury performance heights of machines like the Asus ROG Strix Scar 16 without pushing the price tag quite so hard. That makes for excellent value for money overall, especially when you’re still getting the display quality to match. This is for those looking to invest in a long-term device but still don’t want to tip the scales to the very top end, and quite often that’s the most competitive market set I test within. The Legion Pro 7i 9th Gen works hard for its spot among the best machines on the market, and it’s earned it. Between impressive performance across both synthetic and in-game benchmarks and noticeable (and worthwhile) screen improvements, this is a rig to beat in 2024. 

Its only real competition in the 16-inch space is the Razer Blade 16. With its OLED panel and slimline design, the Blade 16 is the best 16-incher on the market still. However, considering you’ll need to spend close to $4,000 to pick up specs that can beat the Legion Pro’s performance, Lenovo still wins out from a sheer value perspective. 

The Asus ROG Strix Scar 16 has been my favorite gaming laptop for a long time now. It balanced high-end performance with a chunky chassis that could make use of its internal components, and an excellent screen to boot. In its latest form, though, the Legion Pro does all that while also solving a few of the Scar’s problems. This is a far more subtle device with an aesthetic that doesn’t scream gaudy gamer quite so loudly. It performs better across a range of tests with only slightly newer hardware under the hood. It’s also around $400 cheaper in its RTX 4080 configuration. That means the Scar 16 has a real competitor on its hands, and I’m inclined to recommend Lenovo first and foremost. 

How I tested the Lenovo Legion Pro 7i Gen 9

I used the Lenovo Legion Pro 7i Gen 9 for a period of three weeks, with one week of testing alongside the HP Omen 17. In that time, I primarily had the machine hooked up to a secondary monitor, keyboard, and mouse during work hours, unplugging in the evenings to enjoy the full spread of that onboard display. I used the laptop for all daily work and play like this during my testing process, while also travelling with the laptop over a series of short journeys. I used 3D Mark’s synthetic benchmark suite to put the GPU and CPU through their paces, with dedicated tests across Geekbench for the GPU and PC Mark 10 and Cinebench R24 for the CPU. 

I also performed the same in-game benchmark tests as I do with all gaming laptops that pass my desk. Shadow of the Tomb Raider, Total War: Three Kingdoms, Returnal, and The Talos Principle 2 are all run three times at both 1080p and 1600p (where possible, Returnal maxes out at 1440p) in both High and Highest settings. An average framerate result is taken from each set of three runs at different resolution and graphics settings. I also played Octopath Traveler, Fallout 4, The Outer Worlds, and Planet Coaster during my time with the machine. 

For more information on how we test gaming laptops, check out the full GamesRadar+ Hardware Policy. 

We’re also rounding up all the best Asus gaming laptops and the best Alienware laptops on the market. Or, if you’re looking for something a little skinnier, check out the best Razer laptops available now.  

But fret not, Marvel skeptics; you needn't worry about Phases, cameos, or post-credit sequences here. Instead, jump into The War Within on its own terms, and you'll be treated to a worthy expansion in and of itself, one that offers much-needed polish and contemporization to the World of Warcraft play experience, and suggests this oft-beleaguered MMO is on the way back to its operatic best. Blizzard, it seems, has finally started listening – really listening – to its fans, and the result follows 2022's equally excellent Dragonflight as one of the strongest WoW expansions in recent memory. 

Breaking new ground

For those out of the loop with recent developments in Azeroth, a potted history from the last decade of expansions includes players traveling across time, dimensions, and the very spectral curtain between life and death itself. It's a trippy tapestry of events illustrating just how creative Blizzard has had to become in introducing new locations to this now 20-year-old adventure. There's only so many times a once-hidden continent can surreptitiously emerge onto Azeroth's shores, after all.

Things are no different for its latest expansion, either, and this time around, the studio has had to really look within… quite literally, in fact, towards the subterranean civilization that lies beneath Azeroth's terra firma, which is now threatening to engulf it entirely.  

As far as grand narratives in the World of Warcraft canon go, The War Within is up there with some of its best, brought to life with a generous helping of gorgeously rendered in-game cutscenes, and centered around a compelling new villain who threatens the fate of Azeroth itself. That villain, Xal'atath, may have world domination in her sights (hardly a novel characteristic for a Warcraft antagonist), but the more nuanced motivations behind those designs, alongside the seductive charisma which actress Claudia Christian brings to the role, cements Xal'atath as one of the more memorable nemeses for the Azeroth history books. 

The War Within's story also paints more interesting character developments on the side of the home team, too. Anduin, the once noble and mighty leader of the Alliance, is a shell of his former self, still grappling from the traumatic events he suffered during the events of Shadowlands, yet the secrets of Khaz Algar offer some intriguing, redemptive glimpses into his future. Thrall, meanwhile, continues to mellow with age, his sagely presence a far cry from the warring chieftain of old, yet a welcome battle companion for some of The War Within's best questlines. These ongoing character arcs, alongside those of other new and familiar faces you interact with throughout the expansion's campaign and meaty side quests, grounds The War Within's world-ending stakes in more human storytelling, and is something I hope that Blizzard leans into further as the Worldsoul Saga progresses. 

Speaking of new faces, a quick mention must be given to the expansion's new Allied race, a Dwarven variant known as Earthen. They're hardly an earth-shattering addition to the already vast and vibrant demography of Azeroth, but I do like their novel twist on the Well Fed buff, which is always active and enhanced further by ingesting gems to stack additional buffs to your character. 

The region of Khaz Algar itself, meanwhile, presents a healthy mix of classic Blizzard zone design elevated by inspired, aesthetically impressive environmental flair. Two particular highlights include Hallowfall, a verdant archipelago basking in the glow of a giant luminescent crystal, and The Ringing Deeps, which gives Ironforge a run for its money as a cavernous blend of both naturally occurring and impressive Earthen engineering. 

Across these zones, you'll come across multiple Delves, which are essentially smaller, narrative-driven alternatives to Dungeons, where up to four players can rally together for bite-sized boosting accompanied by a fully voiced NPC. These in-game Sherpas have a tendency to operate as walking exposition dumps at times, but the ability to tweak their role types and level them up with new abilities does provide a fun, more engaging way to interact with The War Within's cast of characters. 

Delves are also the perfect Dungeon alternatives for solo players looking to farm XP on a tight schedule, but when do you find yourself with enough time for something meatier, the Dungeons I've played thus far have consistently offered that familiar cocktail of high-stakes addictive teamplay anchored in a steady drip feed of interesting loot, with pacing that felt just about right to satisfyingly cap off an evening session. And while the expansion's first raid isn't out till September 10, the exemplary blend of cinematic storytelling and eye-popping level design that Blizzard has already flaunted across its new Delves and Dungeons thus far suggests we could be in for a real belter. 

Strength from Within

Beyond these new content offerings, Blizzard has also implemented a number of evergreen, systemic changes to World of Warcraft via The War Within, available to all players regardless of whether they own this particular expansion or not. Dynamic Flight, Dragonflight's stellar evolution of WoW's flying mechanics, has now been expanded under the new banner of Skyriding to include hundreds of new and pre-existing mounts, streamlined via a single unifying skill tree. You can explore the entirety of Khaz Alghar from the sky, too, and while this does make it somewhat easy to ignore great swathes of new terrain from above, the moment-to-moment joys of WoW's revamped approach to aerial movement is yet to lose its novelty. 

Blizzard's reworks to progression are less of an instant win. Hero Talents are essentially just another set of talent trees to stack on top of your existing ones, and while the simplicity is appreciated compared to some of Blizzard's more convoluted endgame progression systems of expansions past, this is essentially just more of the same here, with mostly passive modifiers to existing abilities, complementing nuanced buildcraft rather than revolutionizing that approach with anything majorly ambitious or inspired. For years, Blizzard has struggled to land on a truly captivating or sustainable endgame progression structure, and while the attempt here is entirely innocuous at best, it ultimately does nothing to solve that ongoing struggle. 

Warbands, at least, are a much more positive shift in the right direction, smartly adapting to the playstyles of the WoW faithful who regularly mix and match between multiple alternate characters in the same realm. You can now transfer currencies, gear, and other non-soulbound items between these alts, while other systems which were previously character locked, such as Reputation, Flight Paths, and Achievements, are automatically spread across your entire account. 

This alteration wisely removes the need to repeat specific grinds across multiple characters and improves endgame progression incentives by bringing many of its strands all under one, neat, account-wide banner. The efficiency and convenience of play generated by the total sum of these changes arguably makes Warbands one of the best things to come out of The War Within for veteran players, and the game's updated home screen, showing all your active characters sharing company around a campfire, is but the icing atop of that smartly implemented cake.  

The War Within may not quite reach the same heights in innovation as Dragonflight, but instead wisely rides its headwinds for a strong, confident kick off to the Worldsoul Saga. Some may see this expansion as Blizzard playing it safe, with much of its story and gameplay content operating in familiar territory rather than breaking new ground, but the list of shrewd, sensible iterations it does make further aligns the WoW experience with the needs and wants of its players, lifting its relevance back to the fore at this important junction in the game's lifespan. 

Better yet, all of these improvements are delivered within a gorgeous new playspace that brings genuine wonder to the underground and points towards some interesting canonical shake-ups for World of Warcraft moving forward. Deep breath, folks; you're probably not going to be coming back up to Azeroth's surface for air for quite some time after this. 

"You fix things, right?" Yep, that is exactly what Brad Pitt and George Clooney’s unnamed characters do for a living in Jon Watts’ cucumber-cool crime caper. These two 'cleaners' mop up other people’s sticky situations, but never the twain shall meet. Until, that is, both are called independently to take care of an increasingly complex job that begins in a New York hotel penthouse suite. There, Clooney arrives to find Amy Ryan’s DA Margaret in a distraught state: a twenty-something male is dead in the bedroom after slipping and falling. "He’s not a prostitute," she keeps saying, though no one believes her. 

Before long, in walks Pitt’s character, also wearing blue disposable gloves and an air of smarm. He’s been hired by the hotel owner to brush this potential scandal under the carpet. And so, Pitt and Clooney are suddenly forced to work together. "I’m going to supervise," says Pitt, as he watches his rival start to move the body. Except that he too is sucked in when he discovers kilos of drugs in the room. Oh, and the 'Kid', as he’s credited, is not dead. Played by Austin Abrams (Euphoria), this chattering student is the innocent patsy in a deadly situation. 

Who is setting whom up? That’s the big question, albeit one that doesn’t prove interesting enough to be the film’s driving force. Watts seems far more intrigued by reuniting Clooney and Pitt, very much riffing on their Ocean’s Eleven charisma, as they bicker their way through the film like a married couple. Some moments work very well - notably one sequence on a subway train that suggests there is a little love between these two warhorses. Meanwhile, a safari-themed, cockroach-riddled motel room where they briefly hole up is guaranteed to raise smiles. 

There’s a sense Wolfs wants to be a latter-day Butch Cassidy and the Sundance Kid, yet it never quite earns the poignancy of that Newman/Redford classic. But Watts - best known for the Spider-Man: Homecoming trilogy - is a dab hand at action scenes, like the crazed chase through New York that ensues when the near-naked Kid wakes up and tries to make a run for it. Despite an amusing cameo from Zlatko Burić (Triangle of Sadness) as a major-league gangster celebrating his daughter’s nuptials, the finale descends into a generic shoot-out, with bullets sprayed hither and yon. But for those looking for an easy-on-the-eye, brain-in-neutral-thriller, Wolfs still hits the spot.

Wolfs is available to stream via Apple TV Plus on September 27. 

Stay up to date with the latest releases with our guide to the upcoming movies of 2024.

Like the 2019 novel by Andrew Michael Hurley from which it evolved though, Starve Acre is not a work one has to fully comprehend in order to be seduced. It is more of a mood piece, in truth: one that transports the viewer to a muddy vision of '70s Yorkshire in which nature itself seems inexplicably, implacably opposed to the very presence of archaeologist Richard (Smith), his wife Juliette (Morfydd Clark), and their troubled young son Owen (Arthur Shaw).

Having moved from Leeds to take up residence in the titular farmhouse Richard inherited from his estranged father, the Willoughbys are hopeful that their new surroundings will be beneficial to their introspective and asthmatic lad. It takes a mere five minutes for them to be disabused of that fallacy, as a ghastly act of violence recalls 1977’s Equus in its ferocity and unfathomability. An even more bewildering tragedy follows, driving a wedge between Richard and ‘Jules’ that he attempts to fill by literally digging into their home’s links to local myth and folklore. Juliette, meanwhile, finds a comfort of her own in a spiritualist (Melanie Kilburn), inadvertently stirring a malevolent entity that has been wisely kept buried for centuries.

Tapping into the same rich vein of British folk horror the likes of 2015’s The Witch and 2022’s Enys Men mined so productively, Starve Acre roots its dread in a gloomy past that is mundane, real and tangible. A radio news bulletin conveys bleak warnings of impending industrial action, while the buckled headset Owen is made to suffer as he undergoes an EEG has the vintage authenticity of a medieval torture device. 

The chunky patterned knitwear Juliette and her interfering sibling Harrie (Erin Richards) favor has the same aura of musty specificity, something director of photography Adam Scarth augments with visuals that look like they have been dunked in a colour-inhibiting taupe. The upshot of this is that when strange things happen they seem to emerge elementally from the ether, like shadows granted corporeal form or waking dreams made palpable.

Take Starve Acre’s boldest conceit, for instance: a skeletal hare that, having been lifted from the soil and secreted in a box, miraculously starts sprouting follicles, veins, and musculature. This is clearly no ordinary wabbit, and its incremental resurrection, facilitated masterfully by effects outfit Millennium FX, rightly fills the viewer with a fearful foreboding. Yet it’s handled so matter-of-factly, in such a calm and sober fashion, that it feels like an almost logical happenstance in the weird world Kokotajlo has created. It’s certainly the sort of thing Smith’s Doctor would have taken in his stride, the star’s familiarity with fantasy making him a canny choice for a protagonist forced to grapple with the unexplainable.

Clark has the more arduous task, encumbered as Juliette is with a crushing albatross of grief following a crippling bereavement. Over the course of the film, though, she undergoes her own kind of rebirth, albeit one that comes with a zeal not that dissimilar from the religious devotion of Apostasy’s Jehovah’s Witnesses. Having that film’s Robert Emms play Richard’s academic friend provides additional connective tissue with Kokotajlo’s debut. A brief excerpt of a youthful Donald Sutherland in 1964’s Hamlet at Elsinore, meanwhile, can’t help but summon memories of Don’t Look Now, as does a later interlude that sees Smith and Clark reconnecting through a bout of passionate, wound-healing lovemaking.

Kokotajlo has been upfront about his many inspirations, from Quatermass creator Nigel Kneale to ghost story maestro M.R. James. And there is indeed a sense that Starve Acre feels beholden to others, to the extent perhaps of it lacking an individual identity and texture. A scene featuring Harrie in a phone booth is only one of numerous nods to Rosemary’s Baby, while films like Lamb and Hatching have made the inception of freakish critters something of a horror staple of late. There is reason, then, to celebrate composer Matthew Herbert for an eerie wind-based score that sounds like nothing heard on this planet, not to mention a séance scene mercifully bereft of the campy excesses we witnessed in last year’s A Haunting in Venice.

"You’ve hit the jackpot!" exults Emms’ character Steven after Richard unearths the stump of an ancient oak tree with huge pagan significance. Audiences may feel similar elation at Kokotajlo’s ongoing maturation into one of our most composed and rigorous storytellers.

Starve Acre is released in UK cinemas on September 6. 

For more chillers coming your way, check out our guide to upcoming horror movies.

Colman Domingo’s John, the talented theater-group top dog, finds himself challenged by smart, volatile newbie Eye (Clarence ‘Divine Eye’ Maclin), whose explosive rage (and the knife in his waistband) threatens to get them shut down. A film that concentrates on the prisoner, not their crime, Sing Sing’s grainy, up-close 16mm camerawork gives the central pair’s friction-filled relationship a keen intimacy. 

Maclin (an ex-prisoner in real life, like most of the cast) is astonishingly good as a Hamlet-playing tough who discovers that his gangster life is just another role that trapped him. He goes toe-to-toe with Domingo in their fractious scenes with the intensity of a seasoned pro, as their fortunes see-saw through a tough season.

Domingo, alternately mellow and quietly despairing as a lifer prepping intensely for his last-chance clemency hearing alongside the group’s ambitious show, is as good as ever. Leisurely pacing and a restrained style gives Kwedar room to dig into how staging theater productions brings hope and playfulness to inmates who’ve been battered by predatory prison life.

Touching rather than touchy-feely, it’s a high-stakes story with its fair share of fights, deaths and the jail-or-joy tensions of parole hearings. If it’s also a tad starry-eyed about drama as a cultural cure-all, Kwedar’s empathy for the life-battered inmates makes this a rare, graceful work.

Sing Sing is out now in US theaters and is released in UK cinemas on August 30. 

For more, check out our guide to the upcoming movies to get on your radar.