Humans was riveting viewing. At least, it was until last night's lacklustre finale. Chris Schulz thinks it should have ended in a different way.

Hollywood biopics might be great movies but they're still full of lies, writes Karl Puschmann.

It's not long before you realise the creators of Forza 6 - the sixth instalment of the decade-old series - really want to make a splash.

Two warhorses from different ends of the great British rock gallop of the 1960s have emerged from their respective ancient stables with the bit between their teeth and new solo albums.

These days everyone is a self-professed DJ - make up a playlist, plug speakers into your iPhone and press play.

Why hello there, my little Vita friend. It's been a long time between drinks.

Mitimiti has its beginnings in choreographer Jack Gray's personal journey in search of a closer connection with his Te Rarawa heritage and marae in the Hokianga.

The Heroes universe is back in a reboot, Heroes: Reborn - the first episode screened last night on TV3.

Filmmaker Nancy Meyers has produced a catalogue of lighthearted, fun films, with mature actors and made for mature audiences; think Something's Gotta Give and It's Complicated.

Auckland's St James Theatre faced its first true test since re-opening with a sold out show by electronic act Odesza. How did it fare? Chris Schulz was there.

There are weed-obsessed rappers, and then there's Wiz Khalifa, an artist so obsessed with the sticky stuff his eyesight is probably restricted to various shades of green.

Adam Sandler leading a crew to save the world against an invasion of 80s videogame arcade characters created by aliens who got hold of one of those Nasa space probes with a recording of what we did for entertainment in 1982.

If you're kicking off your brand new dance album, a record that will soon soundtrack festivals the world over, maybe you shouldn't do it with The Weeknd.

Burning tyres, smouldering wreckage and dust storms blowing across desolate wastelands. Right from the start, Mad Max gets one key thing right: the vibe

Occupying the most improbable of genres, the musical thriller, this feature-film version of a 2011 National Theatre hit takes an unusual angle of view to explore the effect on the small Ipswich street of the title of a wave of murders in 2006.

It's not often that you'll come across an album that grabs you by the arm, reaches down your throat and wrenches your heart like this one.

Playwright Aroha Awarau has created a sensitive and engaging drama out of something that is almost unimaginably tragic - the random death of a young man cut down in his prime as an innocent bystander at a police shooting.

NZTrio's latest programme, Surge, made its way to Wellington and Whitianga before receiving a hometown airing last night.

New Zealand Opera's Tosca is more than extraordinarily gripping theatre, marking the huge advances made since the company last presented the opera in 2003.

A movie about a wrestling dog with a monkey for a coach stole Calum Henderson's time - and his heart.

Sicario is less a typical FBI thriller than something akin to Michael Mann's Heat or a Zero Dark Thirty substituting the War on Terror for the War on Drugs.

When it comes to Chris Cornell's solo career, there's a giant strobe-lit elephant stinking up the room.

As slight in scope as it is modest in subject matter, the second-to-last film by Albert Maysles, who died in March, is a charming if occasionally too-reverential portrait of New York identity and self-described "geriatric starlet" Iris Apfel.

If you see only one film this year shot on an iPhone 5s and focusing on transgender hookers in LA, make it this one.

The 1980s musical smash Cats returned to Auckland last night. But it hasn't aged gracefully, writes Tess Nichol.

The show covers a pair of crimes, one murder, one hit-and-run, the victims a pair of striking young women. One investigation is federal, the other state, writes Duncan Greive. They're linked by tattoos and old friendships.

The spacious galleries at Northart are filled with paintings by the late Alan Gilderdale which give a telling insight into the stages of expression of his fine talents.

At the heart of Travel Man is a simple question, "we're here, but should we have come?" It's a question that Karl Puschmann believe applies to all travel.