Reborn: The Mark Of The Blood

The brooding pace and relative silence that characterize writer-director Michael Sarnoski’s The Death of Robin Hood is more evocative of his standout debut film Pig than it is his far more mainstream A Quiet Place: Day One, making this elegiac but brutal period piece his most niche and least accessible film yet. Still, its heady mix of mournful drama and murderous action certainly distinguish it from the litany of other Robin Hood films in existence.

2026's Masters of the Universe makes the smart choice to play up the dumb parts of He-Man and not take anything seriously. It’s part Flash Gordon, part Deadpool, and almost officially a parody of itself. These are all good things, by the way.

Marvel’s Wolverine in a violent game — this is something developer Insomniac set out to build from the very start. The X-Men legend uses his adamantium claws to stab and dismember his opponents in rage-fueled melee combat, showering them and himself in blood. We see Wolverine suffer detailed body damage, his flesh tearing to expose his adamantium-laced skeleton. This is a game not for the faint of heart. But, if you don’t like the look of all that gore, you can turn it off.

The Boys’ final episode may be a bit overly predictable at times, but the strong execution and big character moments make for a satisfying send-off to the series. Read our full review.

There's something that really stood out for me as someone in the UK who collected American comics at the end of the 1980s. It's that each new comic you got was a doorway to a world of absolute chaos and gimmickry. I'm not talking about the comic stories themselves, but about the American ads that were suddenly blaring out of the alternate spreads. Topps bubble gum cards. Garbage Pail whatevers. Endless enticements to buy Bayou Billy on the Nintendo Entertainment System. You'd be reading about Batman, knocking gloomily around some Gotham spire, and then you'd turn the page and, WHAMMO, somethin