Of course it's great. We're talking about Kendrick Lamar here, an artist who's not just the the Best Rapper Alive.

This is savage. One minute you're watching someone being ripped to death by a sabre-toothed tiger.

Sufjan Stevens described his mesmerising and moving Civic Theatre show last night better than anyone else could: "A celebration of termination."

The makers of this show have given themselves a challenge: they've attempted to adapt what is primarily adult literature for 4-8-year-olds.

John Psathas' collaboration blends live players and international musicians against World War I battlefields.

The latest offering from the inimitable Coen brothers is Hail, Caesar!, a goofy love letter to the golden age of Hollywood.

Madonna left fans bewildered after her first Auckland show, during which she performed a sex act on a banana and broke down in tears for her son Rocco.

TV3's new BBC spy drama The Night Manager might be lavishly appointed but its debut episode felt a little hollow.

Calum Henderson tunes into Netflix's batch of cooking docos, and wonders why every meal has to be an art form.

For a show about a fast-talkin' shyster, Better Call Saul sure moves slow. It's unhurried and deliberate, writes Karl Puschmann.

Soap opera melodrama and visual effects wizardry combine in a mythical Egyptian fantasy adventure - and it's an uncomfortable mix.

Those controversial outfits. That awful humble-brag apology to Kendrick Lamar. And their virtually unlistenable Valentine's Day single, Spoons, an ode to having a cuddle in bed.

I first saw Sleater-Kinney at the Kings Arms in 2002 as a teen punk, back when the stage was barely a stage. I loved them so much I flew to Melbourne to see them again.

The local production of Henry V, with an all-female cast of 29, steers a path somewhere between the two extremes.

It's a dog-eat-dog world in this uncompromising reworking of John Gay's 1728 The Beggar's Opera.

Poetry and power merged as promised for Auckland Philharmonia Orchestra under the baton of young Spanish conductor Antonio Mendez.

On record, Jeremih's smooth, sexed-up take on R&B sits somewhere between R Kelly and Miguel, his voice mixing with electronic bass tricks that feel so current it hurts.

There's a point where nostalgia becomes more like necrophilia, and Fuller House immediately crosses that line.

The story of the Sonderkommando, the "special units" of Jewish prisoners in Nazi death camps forced to assist with the exterminations of the Final Solution, has been little-told in the cinema.

If you liked the arched eyebrow of the dowager countess at Downton Abbey, you just have to get a load of this.

Prince wasn't the only purple-obsessed performer in town last night.

Prince showed he had more rhythm in his little finger than most humans during his last NZ concerts.

Death Cab For Cutie have been around the block since the 90s and yet this is only the band's second time performing in New Zealand and their first time in Auckland - needless to say, their long time fans were delighted to finally be seeing them.

Depending on your appetite for DIY, Our First Home is either the connoisseur's Block NZ or merely The Block NZ with all the boring bits left in.

The Bard's complex meditation on the power of love sparkles into life on a bare stage of compelling physical intimacy.

The Pop-up Globe's Twelfth Night gives an idea of the atmosphere at the original Globe Theatre over 400 years ago.