The Show Me Shorts Film Festival has announced the Kingdom of Norway as its 2026 Country of Honour, with eight Norwegian films set to feature across this year’s programme, alongside four filmmakers and industry representatives travelling to New Zealand to take part in screenings, educational events and networking opportunities.

It’s a fitting cinematic exchange. Both Norway and Aotearoa are countries defined by dramatic landscapes, ancient mythology and a healthy fascination with the strange and supernatural. Where New Zealand has taniwha and Māori legends, Norway has trolls and Vikings. The result is a short-film showcase that promises to be as atmospheric as it is eclectic.

Norwegian Stories, From Trolls to the Future

The Norwegian Short Film Focus collection brings together seven films exploring everything from animation and satire to family, friendship and dystopian science fiction.

Among the highlights is Det Siste Norske Trollet (The Last Norwegian Troll), an animated tale directed by Pjotr Sapegin, while André Øvredal, best known internationally for his work in genre cinema, turns his attention to an overcrowded future in the science-fiction short Tunnelen (The Tunnel).

Odveig Klyve’s Vind (Wind) takes a documentary approach, examining wind turbines, while Smulene (The Crumbs) from Michael Mellemløkken Renjo explores the complicated dynamics of a step-parent.

There’s also plenty of Norwegian wit on display. Vegard Dahle’s Ego delivers satire through the increasingly awkward territory of a double date, while Trio, directed by Fridtjof Stensæth Josefsen and Morten Borgestad, explores friendship and the universal struggle to fit in.

Johannes Vang’s På Grensa (Borderline) rounds out the collection with a comedy about communication set on the border between two homelands.

For younger audiences, Natalia Malykhina Bratli’s animated Bug’s Story will screen as part of the festival’s Whānau Friendly collection.

A Cinematic Exchange

The festival will welcome filmmakers Odveig Klyve, Bjorn Gulbrandsen and Natalia Malykhina Bratli, alongside Arna Marie Bersaas from the Norwegian Film Institute.

Their presence will give Kiwi filmmakers and audiences the opportunity to engage directly with the Norwegian creative community, offering a glimpse into the filmmaking culture of a country whose cinematic voice has increasingly made an impact on the international stage.

Show Me Shorts Festival Director Gina Dellabarca says the similarities between Norway and New Zealand made the partnership a natural fit.

“Aotearoa and Norway have much in common,” says Dellabarca. “Both are lands famous for majestic mountains, rivers and fjords. While we have legends of taniwha and Māori warriors, they have tales of trolls and Vikings.”

She adds that the selected films combine “dark humour and drama with thoughtful satire and dreamy landscapes” and says she is excited to share the collection with Kiwi audiences.

Arna Marie Bersaas of the Norwegian Film Institute describes the Country of Honour selection as a “great honour”, highlighting the similarities between the two countries while noting the considerable distance that separates them.

Norwegian Embassy Chargé d’Affaires Erik Svedahl says the programme offers New Zealand audiences the chance to discover new perspectives on Norwegian society and culture, while exploring the universal experiences that connect us all.

Tickets are already on sale for the Norwegian Short Film Focus, with screenings taking place across three New Zealand cities:

• Auckland — 9 October, 7:00pm at Capitol Cinema
• Wellington — 12 October, 6:00pm at Light House Cuba
• Christchurch — 15 October, 6:20pm at Alice Cinemas

The full Show Me Shorts Film Festival 2026 programme will be unveiled on Monday, 14 September, with tickets expected to move quickly.

For anyone who likes their cinema short, sharp and just a little bit strange, Norway’s arrival at Show Me Shorts looks like one of the festival’s most intriguing excursions yet; a cinematic journey from fjords to Aotearoa, and from trolls to taniwha.

Images: Show Me Shorts

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A notorious mafia hitman (Mark Wahlberg) and a young African American FBI agent (Yahya Abdul-Mateen II) team up to investigate the murders of civil rights leaders in Mississippi in 1966.

A De-Classified History Lesson

Mid-1960s America was a powder keg of social justice, with the Civil Rights movement taking hold as the battle for equal opportunities and protection under the law raged as protestors were caught in the crosshairs of racial hatred in America’s Deep South. With growing violence, sometimes an even harsher form of law enforcement is needed to deliver justice. This is exactly the place that director Elegance Bratton takes audiences with By Any Means, as he presents the now de-classified investigation into the death of Civil Rights leader Vernon Dahmer (Giancarlo Esposito) which was faciliated by untested FBI agent Wayne Strider (Yahya Abdul-Mateen II), and bore the presence of violent mob enforcer Gregory ‘The Grim Reaper’ Scarpa (Mark Wahlberg), who the FBI brought in to extract justice by any means necessary, and the result is a picture boiling with intensity, and which hits with the ferocity of a baseball bat on bone.

As a historical portrait, By Any Means unearths the previously hidden, now-revealed cloak-and-dagger history of the FBI under its suspicious and Machiavellian leader, J. Edgar Hoover, and brings it to life with heavy drama and a hell of a wallop. While the darker side of the civil rights movement has been well documented, By Any Means is a distinctive call to arms, urging audiences not to forget the fight for social justice, which, in 2026, is even more pressing. Still, this film also draws attention to how sometimes a different path must be taken to get there. The presence of Strider and Scarpa makes for an arresting and incredibly intense watch of a previously buried side of dark history. With By Any Means, Bratton gets to tell both a story of the fight for civil rights, the dark response necessary when justice failed, and an interesting character study of two unique characters operating on two very different sides of the law, who despite their differences find themselves fighting for a cause bigger than each of them.

A Combustible Double Act

By Any Means might be an explosive true-crime thriller, but its unconventional, wild true story shapes it, and, as a character study and double act, it makes for a very interesting watch. Yahya Abdul-Mateen II once again cements his position as one of the most intriguing rising A-lister talents to watch as he takes on by-the-book and untested FBI Special Agent Wayne Strider, who, returning to the racial boiling point of his home of Mississippi, finds himself drawn into the investigation of Vernon Dahmer’s death and finds his beliefs and ethics tested at every level. Abdul-Mateen II delivers a layered performance as a good man of principle and integrity, who is forced to go to extremes and soon learns that sometimes the gun is the only way to justice. He’s incredibly compelling in the part and matches Wahlberg’s charisma and star power at every level throughout the picture.

As for Hollywood A-lister Mark Wahlberg, he goes to town with his all-swagger and heavy-hitting presence as infamous mafia enforcer and hitman Gregory Scarpa, aka The Grim Reaper. Suspected in more than 60 murders, Scarpa was a fearsome killer and noted FBI informant who was instrumental in providing ‘assistance’ in solving the Murders of Chaney, Goodman, and Schwerner, is brought in by the FBI once more to help solve Dahmer’s murder, as only he can. And there are no rules where Scarpa walks. The presence of Scarpa gives Wahlberg a definitive character to play. He really steps into the character’s badass, mobbed-up aura and is utterly fearsome and terrifying on screen. In the course of the narrative’s events, he develops a grudging respect for Strider and showcases his own warped sense of justice to close out the case. It’s a winning performance for Wahlberg, and he pulls no punches.

Cracking Skulls and Looking Cool

By Any Means is by no means a PG-rated movie, and audiences had better be prepared for a cinema experience that is utterly skull-cracking; the violence is certainly maxed out with this one. But the violence on screen is all in service of the narrative it serves. For such a savage and violent crime, only justice delivered at the end of a gun is deserved, and there comes a point where the line between Strider and Scarpa no longer exists, and it’s justly deserved and delivered. By Any Means is a film that also drips with 1960s swagger, and it’s one of the coolest and classiest pictures you’re likely to see all year.

Final Verdict: A Worthy and Heavy Fight for Justice

By Any Means delivers an untold dark chapter of the FBI’s secret history to the big screen with intensity and flair. For audiences seeking a solid police procedural with character and bravado, they’ll find it with this one.

Image: Municipal Pictures

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Prime Video’s smash-hit action thriller returns for a fourth season, and this time around, Reacher turns the volume all the way up. With his back against the wall and operating largely on instinct, adrenaline and sheer bloody-minded determination, Jack Reacher finds himself caught in a dangerous new conspiracy that pushes the series into some seriously high-octane territory.

Alan Ritchson is back beneath those broad shoulders as Lee Child’s iconic wandering hero, with Season Four adapting Child’s 13th Reacher novel, Gone Tomorrow. The result is an intense, fast-moving season that throws its hulking protagonist into unfamiliar territory and, crucially, leaves him largely to fend for himself.

Reacher, On The Run

For three seasons, Reacher has established itself as one of television’s most reliable action machines. The formula is deceptively simple: take a 6’5” former military policeman, drop him into a town crawling with trouble, and let him dispense his own particular brand of justice.

Reacher may be a drifter, but trouble has a habit of following him wherever he goes. So does his instinct to stand up for people who cannot stand up for themselves.

Season Four takes that familiar premise and gives it a welcome jolt. Set in Pittsburgh, the story sees Reacher caught up in a bloody conspiracy after failing to help an innocent woman pushed to breaking point. Before long, bodies are piling up and Reacher finds himself facing threats from every direction.

What makes this season particularly effective is how isolated he is. There’s no Neagley by his side and very little of the familiar safety net that has surrounded him in previous seasons. Instead, Reacher has his training, his instincts and his fists; although he does find unlikely allies in a couple of courageous cops and a determined blogger.

Better still, he’s now a fugitive.

With both the police and a collection of increasingly dangerous villains hunting him, Reacher develops an entertaining sense of urgency. His detective work becomes more run-and-gun than methodical, keeping the story moving at a hell of a pace.

Alan Ritchson Owns The Role

Alan Ritchson remains utterly flawless as Reacher.

There is something wonderfully assured about watching him slip back into the character. From the moment trouble comes knocking, Ritchson sells Reacher as both an imposing physical presence and a man who is constantly calculating three moves ahead.

The fists are obviously still there, and Reacher certainly gives them plenty to do, but Season Four continues to underline that this isn’t simply a character who punches his way through every problem. Reacher is smart, observant and ruthlessly efficient when he needs to be.

There’s also a little more levity this time around. Ritchson gets to inject Reacher with flashes of humour and, in places, this is arguably the most light-hearted we’ve seen the character. Thankfully, it never undermines what makes him work.

If anything, Season Four drives home the simplest truth about Jack Reacher: he’s a good man. He knows exactly what he stands for, and when someone preys on those who cannot defend themselves, Reacher is more than happy to step into the ring.

A Supporting Cast With Bite

The supporting cast once again gives the season plenty of muscle.

Sydelle Noel’s Detective Tamara Green makes for an excellent foil to Reacher. She’s smart, capable and carrying the weight of a past that has left her bruised, making her involvement in the conspiracy feel like an opportunity to rediscover her purpose.

Christopher Marquette’s Jacob “Jake” Merrick brings another interesting dynamic to the story. An essentially ordinary small-town cop, Merrick is suddenly thrown into Reacher’s orbit and finds himself having to square up alongside a man who operates on an entirely different level.

Then there’s Agnez Mo’s Lila Hoth, an intriguing and layered presence who brings an extra dose of spice and unpredictability to the season. Mo has enormous fun with the role, chewing through scenes with enough charisma to make Lila impossible to ignore.

The Action Hits Hard

For action fans, Season Four is everything.

The series has never been shy about delivering brutal, bone-shaking set pieces, but there’s an especially kinetic quality to this season. Reacher is constantly moving, constantly hunted and constantly improvising, giving the action an urgency that keeps the adrenaline flowing.

The punches hurt. The violence lands with impact. And when Reacher finally decides that enough is enough, watching him unleash hell remains one of the great pleasures of the series.

Reacher Season Four doesn’t reinvent the wheel. It simply straps a rocket to it. The conspiracy is bigger, the action is nastier, the thrills are larger and Jack Reacher is once again exactly where he belongs: standing between the innocent and the bastards who want to hurt them.

Final Verdict: Go Big or Go Home

Reacher Season Four is an utterly amped-up return for Prime Video’s muscle-bound action hero — a bloody, bruising and hugely entertaining adrenaline rush.

Reacher Season Four is streaming now on Prime Video.

Image: Prime Video

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Direct from the USA, the latest spectacular from the creators behind Cirque du Soleil’s Mad Apple, The Illusionists and Le Noir transforms Lewis Carroll’s beloved Alice in Wonderland into a kaleidoscopic celebration of circus, magic, music and imagination. The result is a show that feels less like watching a performance and more like tumbling headfirst down the rabbit hole.

From the moment the spectacle begins, Cirque Alice captures that intoxicating sense of childhood wonder: that feeling that anything might be possible if you simply allow your imagination to run wild. It is colourful, playful and gloriously whimsical, but beneath the fantasy is an extraordinary display of physical skill.

The international cast is nothing short of phenomenal. Opera, violin, dance, magic, aerial artistry and traditional circus disciplines collide across the stage, with performers demonstrating astonishing levels of strength, flexibility, precision and bravery. Gravity appears to become merely a suggestion as bodies soar, twist and contort in feats that routinely provoke gasps from the audience.

Yet what makes the spectacle particularly effective is the storytelling. Rather than simply presenting a succession of impressive circus acts, Cirque Alice understands the strange, dreamlike possibilities at the heart of Carroll’s world. Each performance feels woven into the larger tapestry of Wonderland, creating a theatrical experience that surrounds its audience and continually invites us further into the fantasy.

And there could hardly be a more fitting home for such a production than Auckland’s magnificent Civic Theatre. Its grand architecture and ornate surroundings become part of the enchantment, elevating the sense that audiences have stepped into another world for the evening.

There are laughs, surprises and a healthy dose of cheeky audience participation, ensuring that Cirque Alice never takes itself too seriously. It is an experience equally suited to a family night out, a memorable date night or simply anyone who wants to escape the grey realities of winter for a couple of hours.

Visually, it is sumptuous. The costumes, production design and dazzling array of performers create a pop-infused dreamscape that feels both contemporary and timeless. It is pure theatrical escapism — a reminder that wonder is something we should never entirely outgrow.

So, follow the White Rabbit.

Fall down the rabbit hole.

And surrender yourself to Wonderland.

Cirque Alice is a spellbinding night of imagination, spectacle and sheer entertainment; the kind of theatrical magic that leaves you staring at the stage in genuine awe, and perhaps believing, just for a little while longer, that anything is possible.

Cirque Alice is currently playing at The Civic Theatre until Sunday 6 October. Get your tickets here.

Image: 818 Entertainment

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Nineteen-year-old Anthony Bourdain (Dominic Sessa) stumbles into the chaotic world of a restaurant kitchen, setting off a summer that shapes the course of his life.

A Life Takes Shapes

Directed by Matt Johnson and starring Dominic Sessa as the young Anthony ‘Tony’ Bourdain, A24’s biographical drama Tony is a revealing portrait of a young man standing at the precipice of adulthood. Set largely around Bourdain’s formative experiences in Provincetown, Massachusetts, the film explores where the rock ’n’ roll energy, rebellious spirit and fascination with the kitchen that would ultimately define his life first began to take shape.

A Talent Unleashed

Dominic Sessa is superb. There is an inherent cockiness to his portrayal, but beneath the bravado lies a deeply insecure young man desperately trying to figure himself out. He captures Bourdain’s neurosis, narcissism and vulnerability with remarkable precision, creating a performance that feels less like an impersonation and more like an excavation of the person beneath the persona.

This is, ultimately, a coming-of-age story. Tony stumbles through failures, young love, an unrelenting mother and the messy realities of growing up, slowly discovering that the kitchen might offer him something he cannot find anywhere else: purpose. His eventual breakthrough at the Culinary Institute of America feels less like the beginning of his career than the first glimpse of the man he will become.

Adding in the Flavour

The supporting cast is equally strong. Antonio Banderas steals virtually every scene as José Vatel, the charismatic restaurant owner who gives young Tony an opportunity, bringing a wonderfully comic and endearing energy to the role. Leo Woodall, meanwhile, delivers a suitably belligerent and cocky performance as young chef Sal, and then there’s the kitchen itself which becomes a character; volatile, testosterone-fuelled and filled with the kind of frenetic chef antics that make restaurant life feel simultaneously exhilarating and utterly exhausting.

Turning up the Tempo

There is a wicked rhythm to Tony. Johnson gives the film a restless pulse, while the soundtrack does much of the heavy lifting in transporting us into the atmosphere of the mid-1970s. It crackles with the energy of a young man who has no idea where he is going, but knows he needs to go somewhere.

Final Verdict: Finding Purpose in the Heat of the Kitchen

Interestingly, Tony is quite different from what I expected. This isn’t really a film about cooking. It is about the man before Anthony Bourdain became Anthony Bourdain. And that makes it all the more fascinating. Tony is a scrappy, intimate and occasionally bruising portrait of creative potential in its infancy, and it’s a film that leaves you wanting more. A second chapter exploring the man who emerged from this formative period would be very welcome indeed, and for true cinema aficionados there’s a lot to love here in Tony.

Image: A24 Films

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Set in 1982, aspiring novelist Denise Platt (Anne Hathaway) and her husband Greg (Ewan McGregor) are already navigating the rocky waters of a strained marriage when their family nightmare takes a turn into the completely inexplicable. Alongside their two children, Audrey and Brian, and the family dog, Starbuck, they suddenly find themselves transported back to the Jurassic period, trapped in a hostile environment with seemingly no way home; and dinosaurs are making a very unwelcome resurgence. It is, quite literally, the stuff of nightmares.

Embracing the Mystery

Directed by David Robert Mitchell, The End of Oak Street doesn’t necessarily concern itself with explaining every single detail of its premise. And, frankly, that is part of the fun. How did this happen? Why them? What exactly is going on? There are questions aplenty, but not every cinematic mystery needs a tidy answer. Sometimes the sheer thrill of the ride is enough.

And what a ride this is.

The film veers effortlessly between genuine tension, dark comedy and moments that simply make you sit back and think, What the actual hell? There is an infectious sense of unpredictability running through the entire film, with Mitchell embracing the kind of grand, imaginative storytelling that feels increasingly rare in modern cinema.

A Throwbock Blockbuster Event

There is also a distinctly Spielbergian, Amblin-esque quality to the film. The 1980s setting, terrific period fashion and vintage production design give the movie an unmistakable retro character, while the science-fiction premise pushes it firmly into stranger territory.

Interestingly, The End of Oak Street feels so much like the adaptation of some long-lost cult science-fiction novel that it comes as a genuine surprise to discover it is an original cinematic story. The film has the scale and imagination of a sprawling genre adventure, yet it retains an unusual sense of personality throughout.

Strong Performances at the Centre

Anne Hathaway is particularly impressive as Denise, bringing a believable maternal ferocity to a woman desperately trying to protect her children while simultaneously attempting to find a way home. Her performance gives the film an emotional anchor, ensuring that the family’s predicament never becomes merely a vehicle for spectacle.

Ewan McGregor provides a strong counterpoint to Hathaway as Denise’s husband Greg, with their fractured marriage adding a surprisingly human dimension beneath all the prehistoric chaos. Their strained relationship adds an additional layer of tension, as the family must confront both external danger and problems that existed before their extraordinary displacement.

Dinosaurs That Mean Business

And then there are the dinosaurs.

These aren’t cute, family-friendly theme-park dinosaurs. These things are terrifying. Ferocious, vicious and utterly relentless, Mitchell’s prehistoric beasts feel genuinely dangerous, with plenty of blood, gore and gruesome collateral damage along the way.

At times, Jurassic Park feels positively like Saturday-morning television by comparison. The dinosaurs are not simply background attractions; they are constant, unpredictable threats that make every jungle, clearing and shadow feel potentially lethal.

A Visually Striking Nightmare

Michael Gioulakis’ cinematography is another standout, giving the film an expansive, cinematic scale while maintaining a sense of claustrophobic danger.

The visual style also complements the film’s unusual blend of retro adventure and nightmarish science fiction. The world feels both recognisable and completely unknown, creating an atmosphere in which the characters, and the audience, are never allowed to feel entirely safe.

Final Verdict: Pure Blockbuster Fun

Ultimately, The End of Oak Street is pure blockbuster entertainment. Strange, stylish, occasionally absurd and gloriously fun.

Most importantly, it is different. At a time when cinemas could use a little more creative risk-taking, David Robert Mitchell has delivered a film that feels genuinely original. It may not answer every question, but it delivers something arguably more valuable: the feeling of discovering something you’ve never quite seen before. And sometimes, that’s exactly what going to the movies should be about.

Image: Warner Brothers Pictures

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Following the explosive smash hit season of Prime Video’s The Terminal List, and and it’s brutal and harropwing prequel, Dark Wolf, audiences can ready themselves to step back into the battle, as Reece facing death from his scars and mind, is thrown into a new do-or-die mission that might grant him redemption for the actions of his savage revenge.

Watch the brand new trailer for Season Two of The Terminal List below:

From the best-selling novels of the same name, The Terminal List centers on Navy SEAL Commander James Reece (Chris Pratt) as he battles unknown conspiratorial forces seeking to upend the world order. This season comes from Jack Carr’s second novel, True Believer, where he puts James Reece on a journey of violent redemption, finding a new purpose after finishing his list.

The psychological revenge thriller of Season One opens up into a globe-trotting espionage thriller taking Reece across the Indian Ocean, Southern and Northern Africa, the Middle East, and Europe. Joined by returning fan favorites like Raife Hastings (Tom Hopper), Katie Buranek (Constance Wu), Mohammed ‘Mo’ Farooq (Dar Salim), Jules Landry (Luke Hemsworth) and newcomers including Reece’s former SEAL comrade Freddy Strain (Gabriel Luna), Reece will uncover a conspiracy that reaches from Moscow to Langley and ties into his own family’s history.

This first teaser throws audiences right into the heart of action as we find Reece as a feral savage adrift on the Indian Ocean, and who thing finding his way into South Africa soon is forced into a dangerous new conspiracy that cuts right to the heart of who he is as a soldier and as man.

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Once again Chris Pratt is utterly on point in the role of Reece, and series showrunner David DiGilio, executive producer Antoine Fuqua and author Jack Carr are all on hand to make sure that the authenticity remains a core pillar of The Terminal List.

Executive Producer and former Navy SEAL Jared Shaw and Executive Producer and former Army Ranger Max Adams oversee the action and authenticity work, joined by military veterans contributing as writers, actors, on-set technical advisors, and directors — including former Navy SEAL Ray Mendoza (Warfare). The series continues its commitment to portraying the mindset, brotherhood, and moral complexity of Special Operations with respect and realism.

For audiences who are seeking an adrenaline rush, Season Two of The Terminal List will deliver it, and it’s about to get damn heavy, and totally wild, and be prepared for the Winkler Tomahawk comes out as Reece goes to work when all eight episodes of The Terminal List arrive on Prime Video on October 21.

Image: Prime Video

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And with a new trailer and brand new featurette that follows the relationship that was built between Pitt and his canine companion Uber, audiences really get a sense of how this film is shaping up.

Watch the all-new trailer for Heart of the Beast below:

Here’s the official synopsis:

After a harrowing plane crash, retired U.S. Special Forces officer James Belmont (Brad Pitt) and his combat dog, Odin, find themselves stranded deep in the Alaskan wilderness. Together, they are forced into a brutal fight for survival against the elements. From acclaimed filmmaker David Ayer, Heart of the Beast is an intense adventure thriller that explores the unbreakable bond between a man and his best friend as they face their greatest battle yet.

Take a look into the relationship that was built between Pitt and Uber, who plays Odin in Heart of the Beast, and how it changed th dynamic of film:

Heart of the Beast is shaping up to be another incredible narrative for Pitt’s talents, and there’s a lot of heart and loyalty that lies at the base of this story, and seeing it up on the bog screen will make for an absolute rush when it arrives in cinemas on September 24.

Image: Paramount Pictures

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After a harrowing plane crash, retired U.S. Special Forces officer James Belmont (Brad Pitt) and his combat dog, Odin, find themselves stranded deep in the Alaskan wilderness. Together, they are forced into a brutal fight for survival against the elements. From acclaimed filmmaker David Ayer, Heart of the Beast is an intense adventure thriller that explores the unbreakable bond between a man and his best friend as they face their greatest battle yet.

Shot in Southern New Zealand, Heart of the Beast is a stunningly beautiful film, and it offers a perfect canvas to explore just how far a man and his dog will go together in their extraordinary will to survive.

To celebrate the arrival of Heart of the Beast in cinemas on September 24, we’ve got 10 double passes to giveaway thanks to our friends at Paramount Pictures.

To enter and win a double pass to Heart of the Beast, answer the following question:

What breed of dog is Odin?

Send your answer, along with your name and postal address, to samuel@spicypulp.com by Monday, 14 September. Winners will be contacted on Tuesday, 15 September. Only winners will be contacted.

Terms and Conditions

Open to New Zealand residents only. Rated M: Violence & injury detail.

Image: Paramount Pictures

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The Paw Patrol end up in an unknown world filled with dinosaurs. With the help of their new friend Rex, they help save the endangered species from Mayor Humdinger’s plan of kidnapping them.

To celebrate the arrival of Paw Patrol: The Dino Movie in cinemas on September 17, we’ve got 5 family passes to giveaway thanks to our friends at Paramount Pictures.

To go into the draw to win yourself a family pass (four tickets) to Paw Patrol: The Dino Movie, answer the following question:

Who is the director of Paw Patrol: The Dino Movie?

Send your answer, along with your name and postal address, to samuel@spicypulp.com by Monday, 7 September. Winners will be contacted on Tuesday, 8 September. Only winners will be contacted.

Terms and Conditions

Open to New Zealand residents only. Rated G.

Image: Paramount Pictures

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