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Stream It Or Skip It: ‘Sixty Minutes’ on Netflix, a Martial Arts-ish Action Flick That Doesn’t Land Enough Punches

Where to stream:.

• Sixty Minutes
• Action Movies

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No, Sixty Minutes (now on Netflix) isn’t the long-running Sunday night newsmagazine whose theme music goes tickticktickticktick – it’s a German action movie that pedants will nitpick for having an 89-minute runtime. The title refers to a deadline the main character, a professional fighter played by Warrior Nun guy Emilio Sakraya, must meet lest he risk upsetting a supercute little kid, and a more accurate target for pedantry is whether this plot accurately plays out in real time. Almost a spoiler: It kind of doesn’t, but it might have enough heart and dynamic punchery-kickery to render it passable anyway.

SIXTY MINUTES : STREAM IT OR SKIP IT?

The Gist: ABS: That’s the first shot of the movie, and they look like the kind of abs that can take a shot or 10. They belong to Octavio (Sakraya), a mixed martial arts fighter who runs his own gym and has a fight today and today is also his seven-year-old daughter’s birthday. He stares at the birthday card and doesn’t know what to write in it – or when he’ll be able to get it to her. He’s made the kid promises of a cake and a gift – a kitten, of course it’s a kitten – and an appearance at her birthday party, which happens to be occurring at the exact same time he’ll be in the ring rear-naked-choking a bloke, or getting rear-naked-choked by a bloke. These things can go either way, you know. 

And if you think Octavio is between a rock and a hard place with this one, well, it’s about to get rockier and harder. He’s been a screwup of a dad, which is maybe understandable, since he was so young when she was born. Just as he’s ready to hop in the octagon, his ex calls and gives him a last-straw warning: If he lets his kid down again and isn’t at the party in [INSERT MOVIE TITLE HERE] she’s gonna file for sole custody and probably obliterate him in court like you suspect he could obliterate a guy’s face in a fight. That’s enough motivation for Octavio to turn heel right out the venue door and get the cake and cat and make it there in time. His business partner and best bud Paul (Dennis Mojen) protests, because this is a big fight and oh by the way, all these sleazewads and scumcrumbs wandering around backstage have a lot of money on this fight so he better get his ass out there and punch and kick a dude until he’s a garbage bag full of 90/10 ground sirloin.

But Octavio doesn’t care. He holds a little girl’s heart in his hands and it’s delicate and precious and he’s not gonna break it. He sets a timer for [INSERT MOVIE TITLE HERE] and out he goes, with some real angry amoral fartknockers on his tail – angry amoral fartknockers who start fights with a guy who knows how to liquify a kidney with his fists. Octavio gets some help from one of his gym trainers, Cosi (Marie Mouroum), which helps when he’s more outnumbered than the usual outnumbering, e.g., when he Bruce Lees his way through a half-dozen thugs in an alley. Eventually, the predicament gets more complicated – nothing is so bad that it can’t get worse, remember – when cops get involved, and the thugs start pulling guns, and the plot starts twisting a little. Will Our Man be able to fight through an array of crooks and betrayals and psychological baggage to get an adorable kitten to an adorable little girl? NO SPOILERS, BRUV.

What Movies Will It Remind You Of?: Stylistically, Sixty Minutes is a Good Time wannabe, and premise-wise, it’s essentially Run Lola Run crossed with Tom Hardy MMA movie Warrior . Actually, no. Warrior is too not-flimsy. Let’s make it Cam Gigandet MMA movie Never Back Down instead.

Performance Worth Watching: The screenplay kind of fails everybody in terms of character and dialogue, but Sakraya, a real-life student of karate and kung fu, delivers uncomplicated emotions and a physically demanding performance well enough to keep the movie afloat.

Memorable Dialogue: Man, this script is bare-bones basic: “Have I always been such a mess?” Octavio asks during a dark moment, and the movie almost barely puts in the effort to kind of answer that question.

Sex and Skin: None.

Our Take: OK, so the emphasis here isn’t really the story, which is rudimentary in structure, character and emotional content. Director Oliver Kienle banks on us being too swept up in the pedal-to-the-floor pace and copious fight sequences to care too much, which tells us more of the budget was dropped on pugilist choreography than on the writing. And that’s fine! But the caveat is, a director’s chopscocky chops had better be stellar if you want to draw favorable comparison to Jackie Chan or Bruce Lee, or even Jean-Claude Van Damme, or to blistering action spectacles like The Raid or John Wick . 

Kienle’s work here isn’t quite dynamic enough to achieve full flight, or more than medium-grade exhilaration. He exhibits some visual flair in action sequences set in dance clubs, subway platforms and Euro-urban streets, and amplifies the tension with a countdown clock and an animated map outlining Octavio’s dotted-line path through the city. But even when the action tends toward hard-hitting realism – you’ll “feel” a few of these punches – it’s too often pieced together in the editing room. 

Sixty Minutes does its job moderately well, generating excitement as our protagonist – who’s rash and impulsive and not always lovable, but is at least baseline relatable – dashes from point A to point B, doling out violence when necessary. Tonally, though, it’s a lost opportunity; it takes itself far too seriously for a movie that features moments of kitten endangerment and frequently stretches plausibility like a whitey-tighty waistband tied to the bumpers of two speeding Lamborghinis. If we’re prompted to laugh a little more often at the silliness of this plot, we also might not care that it gets sloppy with the tickity-tockity countdown drama, where so much happens in 12 minutes, you wonder how poor Octavio isn’t dead from exhaustion after 60. Guess his training facility is one of the best in the world at conditioning athletes.  

Our Call: Sixty Minutes has its moments, but doesn’t give us enough of them to ignite our enthusiasm. So I say SKIP IT unless your boredom level is at about def con 2.  

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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REVIEW: ‘Sixty Minutes’ Is Worth The Time

G erman-language Netflix Original  Sixty Minutes (60 Minuten)  from writer/director Oliver Kienle and co-writer Philip Koch is an action-thriller. Taking place one night, MMA fighter Octavio Bergmann( Emilio Sakraya ) is told under no uncertain circumstances by his ex that if he doesn’t make it to his daughter’s seventh birthday party in exactly one hour, he will never be allowed to see her again. He abandons an important fight at the last minute but, in doing so, makes instant enemies with all of the wrong people.

Sixty Minutes is quite creative and not overly sentimental. The sixty-minute timer and street map of Octa’s progress feel novel, even if this is surely not the first movie to use such a ploy. The movie maybe could have benefited from pretending it was taking place in real time a bit more. The timer starts almost exactly one hour before the end of the runtime and ends at about the right time (about a minute early). However, several times throughout the movie the clock gets noticeably out of sync with real life.

This wouldn’t be so noticeable if there weren’t so many scenes shot to deliberately feel like they’re long and unbroken for the sake of the time gimmick , only for the scene to be unceremoniously cut away to the next. Sixty Minutes  didn’t need to fully employ a real-time trick to make it work, but it feels a bit rocky when these long, seamless parts are suddenly cut up and time stops being perfectly in sync.

While the acting in  Sixty Minutes  is nothing to write home about, the characters manage to deliver the right mix of action with anger and desire. Octa just wants to get home to his daughter. It would sure be nice if he actually explained that to a single soul at an appropriate time throughout the movie, but then he wouldn’t be quite the silent but deadly protagonist he is.

It’s not like he’s overly wrapped up in machismo, though—a fatal trap the movie gladly avoids. He does have moments of vulnerability and has no problem expressing his love and appreciation for his friends and family. A “pep talk” from his dad midway through the movie could have been skipped, perhaps, since I’ve already forgotten everything the older man tried to yell into his son. But it’s nice to see Octa has a little more dimension than just being an angry dad who punches people.

And punch he sure does. The movie is filled to the brim with quite good action scenes. They get a bit repetitive towards the end, never introducing enough new elements once the third act begins to keep the fights fresh. But everyone on screen is highly adept at fighting and staging it for the camera. Octa’s friend and trainer, Cosima ( Marie Mouroum ), especially helps bring some dynamism to the screen every time she enters the fray. Some different uses of weapons or environmental factors would have helped the last fight feel like less of a slog, but some of the earlier ones, especially the 4v4 brawl, are quite entertaining.

Sixty Minutes  is worth the time. It’s a creative take on the burgeoning dad genre and delivers as an action-thriller for the majority of its runtime. A few extra twists to some of the later fights would have kept it a bit more interesting all the way through, but it’s a satisfying blend of serious and heartfelt works, even if both sides are dulled a bit by middling acting.

Sixty Minutes  is streaming on Netflix January 19th.

The post REVIEW: ‘Sixty Minutes’ Is Worth The Time appeared first on But Why Tho? .

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Sixty Minutes Review – Predictable and painful

The German Netflix action film Sixty Minutes is a serious race against time as mixed martial arts fighter Octavio (Emilio Sakraya) finds himself with just one hour to make it to his daughter’s birthday party. He’s desperate not to lose custody so he abandons a fight to attempt to make it on time, but unfortunately, this leads him to make some dangerous enemies who chase him through Berlin.

It’s not the strongest, most plausible storyline so the hope is that this film is filled with incredible action and intense fight sequences — and it sort of is.

With the runtime being 89 minutes, I think the film could have mirrored this in the title — it would have provided a little edge and a beneficially novel real-time gimmick. 

It’s a cat-and-mouse chase, and with the timer on the screen as a countdown, there are times you do feel the pressure. However, it’s cheesy in the way that the timer is noticeably out of sync with real life. Noticing this makes the film hard to believe and engage with. 

The conflict isn’t strong enough — Octavio either fights or misses his daughter’s birthday — and it’s a poor way to get the audience invested. It’s hinted he’ll lose custody, and that he’s not been there for 7 years, so why now? Why does he want to be a dad now? Why is the wife able to say this? It’s all very underdeveloped and under-researched. 

I think the film wanted to show the pressures of a male father figure, trying to have a career and be a good father — the fears that a man faces, but it’s incredibly weak. There is one section of vulnerability, where Octa shows appreciation for his family and friends — it’s a nice touch and gives him that humble father vibe, rather than just a man who beats people up.

There are some decent fighting sequences though, where our maverick protagonist single-handedly fights off multiple men. They do get a little repetitive towards the end; they could have introduced some weapons, but that might have defeated the purpose that he uses his fists for a living. 

I did enjoy the chase scenes around Berlin, and wish I had his energy to run through half of them.

The acting is not going to compete at any awards, however, each character does well in blending action with desire, determination, and action.  It’s a predictable storyline and the film could have used a twist or two to help it feel less flat and formulaic. However, it’s a happy ending that everyone wants. 

I’m going to say that Sixty Minutes isn’t worth watching. It’s a basic action film that leaves a lot to be desired. Maybe if they’d have had a funny bone this could have swung in a different direction.

Sixty Minutes is not a bad film, but it is not worth your time. If you’re looking for something with drama, action, and intensity surrounding a father and his daughter, then watch Taken instead.

What did you think of Sixty Minutes? Comment below.

RELATED: Sixty Minutes Ending Explained

Article by Romey Norton

Romey Norton joined Ready Steady Cut in June 2021 as a Film and TV writer, and since then, she has published over 400 articles for the website. With a Master of Arts Degree from the University of Leeds in 2017 and acting experience on screen, Romey uses her Film and TV knowledge to bring informative and detailed content for online publications and podcasting.

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Sixty minutes, common sense media reviewers.

Fast-paced action tale has strong violence, language.

A Lot or a Little?

What you will—and won't—find in this movie.

Fight for your family. Don't be a cheater. Be brav

Octavio's heart is in the right place, and he want

The main characters are White and German. A few su

A few scenes feature guns, shootouts, and people g

Strong language throughout includes all variations

A few people are accused of "being on drugs."

Parents need to know that Sixty Minutes is a German action film about an amateur mixed martial arts fighter named Octavio who finds out from his daughter's mother that if he doesn't show up for his daughter's birthday in 60 minutes, she'll sue for full custody. There are many fight scenes and lots of punching…

Positive Messages

Fight for your family. Don't be a cheater. Be brave.

Positive Role Models

Octavio's heart is in the right place, and he wants to be a better father. He disagrees with throwing fights. He also wants to save his gym from failing.

Diverse Representations

The main characters are White and German. A few supporting characters are Black and German. No other diversity is shown, outside of women fighting alongside men in brawls and fistfights.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Sixty Minutes is a German action film about an amateur mixed martial arts fighter named Octavio who finds out from his daughter's mother that if he doesn't show up for his daughter's birthday in 60 minutes, she'll sue for full custody. There are many fight scenes and lots of punching, kicking, wrestling, and action. A few scenes show guns and shootouts and some people get shot in the body (shoulder and leg). People are also threatened with guns, chased, and a car crash flips a car full of people. People also get thrown, slammed, pushed into walls, and visibly hurt. A man is stabbed in the stomach with a glass shard and the injury is briefly shown in detail. A man is tied up to a chair. A few people are suspected of being "on drugs." Strong language includes all variations of "f--k," including, "mother--ker," "s--t," "a--hole," "ass," "p---k," "bitch," "c--t," "bastard," "damn," and "hell." To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

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What's the Story?

Is it any good, talk to your kids about ....

Families can talk about violence in action movies. Was the violence in Sixty Minutes exciting? Did it add to the enjoyment of the story? Why or why not?

Do you think Octavio's adventure to his daughter was realistic? Does it matter if it wasn't?

Was the ending satisfying? Why or why not?

Movie Details

• On DVD or streaming : January 19, 2024
• Cast : Emilio Sakraya , Dennis Mojen , Marie Mouroum , Florian Schmidtke
• Director : Oliver Kienle
• Inclusion Information : Middle Eastern/North African actors
• Studio : Netflix
• Genre : Action/Adventure
• Topics : Sports and Martial Arts
• Run time : 89 minutes
• MPAA rating : NR
• Last updated : January 26, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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The best 60s movies: the 24 greatest films of the 1960s

These are the greatest films from the 1960s.

The 1960s: what a decade. It brought us the key years of The Beatles, the Summer of Love, the birth of flower power and the rise of the civil rights movement.

All that cultural change fed into cinema too. Out went the stuffy ways of old Hollywood, and in came a whole raft of experimental, transgressive, and just plain brilliant movies that dabbled with new film making techniques and big ideas.

The 60s also saw the collapse of the old Hollywood studio system, where the studios controlled the entire process of film-making with an iron fist, letting in more influences from Europe and beyond.

From horror to sci-fi, and from westerns to kitchen sink dramas, directors in the 1960s reached for the stars, establishing a cinematic language that is still spoken by today’s best directors.

Here, then, are 24 of the best movies of the 1960s. If you don’t see your number one on the list, don’t worry – we’ll be expanding this list over time.

If your top 60s film is on the list, though, then give it a vote.

The best 60s movies

1 . 2001: A Space Odyssey (1968)

Stanley Kubrick’s 1968 masterpiece pretty much wrote the rulebook for any subsequent sci-fi film with aspirations of being taken seriously. From its iconic wordless opening sequence running through the ascent of man from simian tribe to spacefaring tourists, it’s clear that 2001 is shooting way beyond the moon. The outstanding practical effects, the prescient showdown with rogue AI HAL, and the climactic psychedelic space trip were all beamed in from some point in the future.

2 . The Good, the Bad and the Ugly (1966)

Sergio Leone’s so-called Dollars trilogy would launch the career of Clint Eastwood, as well as setting the terms for tense, gritty Wild West action for generations to come. The Good, the Bad and the Ugly is the third and final of these films, bringing together Eastwood’s moody gunslinger, Eli Wallach’s swarthy bandit, and Lee Van Cleef’s mercenary for a blood-soaked treasure hunt. Ennio Morricone’s iconic score arguably takes the fourth lead in this seminal spaghetti Western.

3 . Psycho (1960)

It’s startling to think that Alfred Hitchcock’s black and white horror masterpiece was made right at the start of the decade. Its lurid subject material, all about a disturbed motel owner who dresses up as his mother and kills women, was about as far removed from the staid ’50s vibe as can be imagined. So too are the film’s outrageous twists and, of course, THAT shower scene.

4 . Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

Stanley Kubrick was the master of any form of film making he set his mind to. With Dr. Strangelove he nailed biting satire, sending up the absurdity of the nuclear brinkmanship that was then being played out between the US and the USSR. The film is also notable for the performance – or rather, performances – of British actor Peter Sellers, who well and truly announced his comic genius for all the world to see.

5 . Butch Cassidy and the Sundance Kid (1969)

If the ’40s and ’50s were full of westerns that mythologised America’s frontier spirit, Butch Cassidy and the Sundance Kid shot it full of holes and left it to bleed out. Paul Newman and Robert Redford play bickering outlaws on the lam in South America. The film is perhaps most memorable for its iconically downbeat freeze-frame final shot, which would rapidly enter the pop culture lexicon.

6 . Lawrence of Arabia (1962)

David Lean’s 1962 film has become cinematic shorthand for epic cinematography, involving sweeping natural vistas, a swooning score, and a frankly daunting numbers of extras. Peter O’Toole plays historical figure T.E. Lawrence as he attempts to unite feuding Arabian tribes during the First World War. If you needed any further reason to give Lawrence of Arabia due reverence, it’s the film Steven Spielberg has watched more than any other.

7 . In the Heat of the Night (1967)

Norman Jewison’s Oscar-winning neo-noir mystery stars the incomparable Sidney Poitier as Virgil Tibbs, an African-American Philadelphia cop whose able assistance is most definitely not welcomed during a murder investigation in small town Mississippi. The themes of racial discrimination and police heavy-handedness were white hot at the time of the film’s release, and have hardly lost any of their relevancy in the years since.

8 . The Graduate (1967)

The Graduate is simply jam packed with sights, sounds, and lines, that have seeped into the public consciousness, from Simon and Garfunkel’s bittersweet tones to Ann Bancroft’s proto-MILF Mrs Robinson, right through to that tantalisingly uncertain final shot. At the heart of the whole thing is Dustin Hoffman’s privileged but listless graduate, desperately looking for purpose and connection as he embarks on an affair with an older woman.

9 . The Sound of Music (1965)

Even if you think you don’t like musicals, you have to doff your Tyrolean hat to The Sound of Music. From its stunningly scenic cinematography to its rousingly familiar musical numbers, this is a musical that has made its way into the very fabric of cinematic history. Julie Andrews and Christopher Plummer star, but it’s those Rodgers and Hammerstein songs that have made the film immortal.

10 . Bonnie and Clyde (1967)

Based on the true story of a couple of depression-era bank robbers, Bonnie and Clyde was notable at the time for its unflinching depiction of gun violence – especially in its brutally bloody finale. Hugely influenced by the French New Wave, and with a script that pops like a tommy gun, it still feels fresh today. Twin leads Warren Beatty and Faye Dunaway perfectly convey the media-baiting charisma of our doomed lovers.

11 . The Apartment (1960)

After making perhaps the quintessential American comedy in Some Like it Hot, director Billy Wilder turned in this much loved – and hugely influential – rom com. Ambitious insurance clerk Jack Lemmon makes his New York apartment available to co-workers for their illicit trysts whilst harbouring a crush on his workplace elevator operator, played by Shirley MacLaine. The Apartment is sharply observed and very funny, not to mention surprisingly daring for a film of its vintage.

12 . Midnight Cowboy (1969)

As the optimistic ’60s came to an end and the gritty New Hollywood of the ’70s approached, director John Schlesinger evidently thought he might as well skip to the chase. Jon Voight plays the handsome southern boy seeking to become a New York gigolo, while a young Dustin Hoffman plays the sickly conman who befriends him. It’s the only X rated film to win the Best Picture Oscar, which says a lot for its bleak brilliance.

13 . Yojimbo (1961)

The majestic samurai films of Japanese director Akira Kurasawa have proved hugely influential to the American Western genre, and to action cinema in general. Take Yojimbo, with its tale of a laconic drifter (Kurosawa mainstay Toshiro Mifune) playing two rival gangs off one another. This taut thriller would go on to be remade (unofficially) in 1964 as A Fistful of Dollars and (officially) in 1996 as Last Man Standing, a testament to its enduring appeal.

14 . The Jungle Book (1967)

The two top Disney animated movies of the 1960s were The Jungle Book and One Hundred and One Dalmatians. Both are classics, but we think The Jungle Book slips past with its pacing and sheer wealth of iconic moments. And that’s before we even think about the songs, like The Bare Necessities and I Wanna Be Like You.

15 . Night of the Living Dead (1968)

George A. Romero’s Night of the Living Dead essentially invented the zombie genre that has saturated pop culture for the past few decades. Without this film, there would be no The Walking Dead, The Last of Us, 28 Days Later, or indeed Shaun of the Dead. Romero’s film remains an expertly crafted slice of low budget horror with a strong side of social commentary, as small town America is torn apart by its own reanimated citizens.

16 . The Man Who Shot Liberty Valance (1962)

John Ford’s The Man Who Shot Liberty Valance is a late entry to the field of classic black and white Westerns, and one of the best ever made to boot. It takes a world weary look at the tropes of the Western genre whilst simultaneously ticking off all the usual boxes, with a stellar cast of proven Western players that includes John Wayne, Jimmy Stewart, and Lee Marvin.

17 . 8 1/2 (1963)

Italian filmmaker Federico Fellini’s surrealist comedy-drama won Oscars for Best Foreign Language Film and Best Costume Design, and it frequently makes its way onto ‘best film ever’ lists. Viewed through a modern lens, it’s startlingly meta stuff, depicting an Italian film maker attempting to get over a creative blockage with his latest movie project. One of the most influential films ever made, you’ll find that 8 1/2 forms a building block in the creative make up of most of the famous directors working today.

18 . Persona (1966)

A candidate for Ingmar Bergman’s best film, Persona is a strikingly original work that packs a lot into just over 80 minutes. An actress has a breakdown and becomes mute. She moves to the coast to recover, but the lines between her and her carer Alma begin to blur. It’s a challenging watch you won’t forget.

19 . Le Samourai (1967)

You can see the influence of Jean-Pierre Melville’s French New Wave classic, Le Samourai, in any subsequent film that involves a hitman going about their business in an ineffably cool fashion. Alain Delon plays the ice-cold professional killer who finds himself the target of both unwanted police attention and shady underworld figures. As an exercise in classic film-noir filmmaking shot through with Gallic style, Le Samourai is nigh-on unimpeachable.

20 . Rosemary’s Baby (1968)

When it comes to Rosemary's Baby, you have to try and separate the person from the art created, given the controversies that surround Polish director Roman Polanski. If you can do this, then you are rewarded with a film that's a deeply unsettling psychological horror, as Mia Farrow’s young soon-to-be mother becomes increasingly paranoid that a Satanic cult has evil designs on her baby.

21 . Planet of the Apes (1968)

This film has one of the most famous twist endings in all of cinema. But Planet of the Apes is more than just its final shots. This is a science fiction classic with a socio-political bent. Charlton Heston's George Taylor crash lands on a planet after spending more than 2000 years in stasis. He finds a world of intelligent apes, and is captured by them, having to prove his intelligence to avoid death.

22 . To Kill a Mockingbird (1962)

Gregory Peck is Atticus Finch, a lawyer defending a black man accused of rape. We see through the eyes of Finch's children the noxious effects of racism on American society. The film was released just two years after the publication of the book on which it is based, a classic in its own right by Harper Lee.

23 . Easy Rider (1969)

Dennis Hopper’s directorial debut is a landmark of counterculture film making. Hopper and Peter Fonda play a pair of biker hippies using the proceeds of a drug deal to make a two-wheeled journey to New Orleans for Mardi Gras. This free-wheeling movie perfectly captures the freedom, drug experimentation, and societal tensions of the time, heralding a new era of iconic independent cinema into the bargain.

24 . The Wild Bunch (1969)

Sam Peckinpah’s brutal Western concerns a gang of grizzled archetypes, led by William Holden’s aging gunslinger, all struggling to make sense of a rapidly civilising world. In the great director’s hands, the dying days of the Wild West are no place for heroes. The Wild Bunch attracted considerable controversy at the time for its wanton nihilism and explicit violence, but it stands today as an early and shining example of the revisionist Western.

• These are the best movies of the 70s .

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The 60 Best 1960s Horror Movies

Rosemary’s Baby celebrates its 55th anniversary!

Unearth the best 1960s movies ever and you’ll see the decade started off screaming. Psycho titillated audiences showing Janet Leigh in a bra before serving up one of the most shocking death scenes ever committed to screen – it still shocks some 60 years later. Both Psycho and Peeping Tom released the same year and both share comment on voyeurism, with the latter going as far as implicating the viewer in its POV murder shots. Introducing such a lurid concept was enough to get Peeping Tom pulled from theaters, and all but killed director Michael Powell’s career.

The introduction of the Oscar for Best Foreign Language Film in the late ’40s created a new palate for international cinema, and while the ’50s were filled with prestige pics like The Seventh Seal and Seven Samurai , genre movies from abroad began to light up theaters. This includes horror classics like Eyes Without a Face , Kwaidan , Black Sunday , Blood and Black Lace , and Hour of the Wolf . And after ramping up in the ’50s, British horror entered a prestige era with The Haunting , House of Usher , The Devil Rides Out , and Village of the Damned .

By 1968, the Hays Code (which delineated what violence, sex, and themes could be depicted on American screens) was all but gone, and that same year The Night of the Living Dead birthed a new age of independent cinema and the zombie genre itself. Speaking of birth: Rosemary’s Baby also came out in ’68, capping a decade of memorable psychological thrillers like The Innocents , What Ever happened to Baby Jane? , Persona , and Seconds .

To compile this list of ’60s horror, we took every critically-approved genre movie of the decade, and then ranked them by Tomatometer score, with Certified Fresh films first! Now, read on for the best 1960s horror movies! — Alex Vo

Psycho (1960) 97%

Rosemary's Baby (1968) 96%

Night of the Living Dead (1968) 95%

Eyes Without a Face (1960) 97%

The face of fear (1960) 95%.

The Innocents (1961) 95%

The Birds (1963) 94%

Village of the Damned (1960) 93%

What Ever Happened to Baby Jane? (1962) 91%

Persona (1966) 91%

Kwaidan (1964) 91%

The Haunting (1963) 87%

House of Usher (1960) 84%

Seconds (1966) 79%

The Sorcerers (1967) 100%

Blind Beast (1969) 100%

Edogawa ranpo taizen: kyofu kikei ningen (horrors of malformed men)(horror of a deformed man) (1969) 100%.

The Housemaid (1960) 100%

Dr. Terror's House of Horrors (1965) 100%

Kuroneko (1968) 96%

The Devil Rides Out (1968) 96%

Spider Baby (1967) 94%

The Little Shop of Horrors (1960) 94%

Hour of the Wolf (1968) 92%

Targets (1968) 89%

The Comedy of Terrors (1964) 89%

Onibaba (1964) 90%

The Masque of the Red Death (1964) 91%

The Man With the X-Ray Eyes (1963) 88%

The Pit and the Pendulum (1961) 88%

Witchfinder General (1968) 89%

Viy (1967) 88%, quatermass and the pit (five million years to earth)(the mind benders) (1967) 88%.

Black Sunday (1960) 86%

Spirits of the Dead (1968) 86%

Psychomania (1971) 86%

Night Tide (1961) 86%

The Tomb of Ligeia (1964) 86%

The Raven (1963) 83%

Hush... Hush, Sweet Charlotte (1965) 82%

The Last Man on Earth (1964) 79%

Dracula, Prince of Darkness (1966) 81%

Dracula Has Risen From the Grave (1968) 81%

Blood and Black Lace (1964) 80%

The Brides of Dracula (1960) 78%

The Day of the Triffids (1963) 78%

Homicidal (1961) 73%

Children of the Damned (1963) 73%

Tales of Terror (1962) 73%

The Demon Planet (1965) 73%

What! (1963) 78%

The Evil Eye (1963) 71%

Die, Monster, Die! (1965) 71%

The Haunted Palace (1963) 71%

The Fearless Vampire Killers or: Pardon Me, but Your Teeth Are in My Neck (1967) 71%

Frankenstein Must Be Destroyed (1969) 70%

Dementia 13 (1963) 69%

The Ghost and Mr. Chicken (1966) 67%

At Midnight I'll Take Your Soul (1964) 67%

The Curse of the Werewolf (1961) 60%

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Carving through the heart of the Promised Land is the Biblical spine of Israel, sometimes referred to as the "Path of the Patriarchs" and officially designated as "Route 60." A highway of de... Read all Carving through the heart of the Promised Land is the Biblical spine of Israel, sometimes referred to as the "Path of the Patriarchs" and officially designated as "Route 60." A highway of deep historical significance while often the scene of unrest and violence, this 146-mile roa... Read all Carving through the heart of the Promised Land is the Biblical spine of Israel, sometimes referred to as the "Path of the Patriarchs" and officially designated as "Route 60." A highway of deep historical significance while often the scene of unrest and violence, this 146-mile road of asphalt and concrete begins in Nazareth, Israel's largest Arab city, and ends in Beer... Read all

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Logitech G Pro X 60 review: “what’s up fellow kids”

GamesRadar+ Verdict

The Logitech G Pro X 60 is a nice enough 60% keyboard by itself, but in dropping several features becoming commonplace in today’s releases it can feel a little outdated. Its customization options are second to none, however, and there are some handy extra features baked into the design as well.

Fantastic key customization

Compact form factor for wider mouse sweeps

Snappy and response feel

Rare dedicated media controls

Excellent build quality

Travel case included

Out of step with newer developments

High price for optical switches

Not hot-swappable

Why you can trust GamesRadar+ Our experts review games, movies and tech over countless hours, so you can choose the best for you. Find out more about our reviews policy.

60% keyboards aren’t new, they’ve been shaking up the world of competitive gaming for years now. However, Logitech has been hesitant to throw its own hat into the ring, leaving it until 2024 to finally release its own miniature device. While feeling a little late to the party, the Logitech G Pro X 60 certainly has some neat tricks up its sleeve to stay fresh - even if it’s not quite the bomb the brand might think it is considering its hefty price tag. 

It’s got excellent programmability going for it and a couple of handy extra features rarely seen on smaller decks, but unless you’re willing to work to love it this is a tough recommendation. I’ve spent the last two weeks working and playing with the X 60 to see just where it sits among the best gaming keyboards on the market.  

The G Pro X 60 looks like pretty much any other 60% keyboard at first glance - save for the white G-styled escape key on my all-black model and a trim of shiny aluminum around the base plate’s edge. I’m not mad, though. It’s difficult to shrink things down to this level and still maintain a distinctive look. Like the Razer Huntsman Mini and SteelSeries Apex Pro Mini , this is a mono-tone chassis with a slight wedge to the design and next to no bezels. If you are looking for something a bit different, that alternative escape key can certainly set things apart on a gaming desk , but otherwise everything’s pretty uniform here. 

The quality of that build is impressive, however. There’s zero flex to this thing, no matter how much I abuse it during testing. Each clack bounces back from a rock-steady base and even the plastic underside feels durable and secure. That sturdy design means the G Pro X 60 feels a little heavier than other options in the hand, but with the included hard-shell carry case it’s still easier to transport than other decks. It also means you won’t be worrying about knocking the whole deck around during gameplay either. 

The left-hand side houses a volume wheel, placed towards the top of the deck. This is a fantastic addition to the smaller form factor - and something we don’t see too often. Similarly, the right flank houses a Game Mode switch to disable the Windows keys.

Two feet flip from the bottom to provide a little extra elevation to your typing, with a dedicated slot for the USB-A dongle sitting underneath the main deck as well. You’ve got a set of PBT keycaps up top, but they don’t quite have the same rough texture as I’ve seen in other models, namely the Corsair K70 Pro Mini. They’re not exactly slippery, the slightly concave shape of the cap itself keeps you firmly in place, but they stand to feel a lot more tactile under the fingertips.

Of course, you’ve also got some powerful LEDs shining up through those caps. Logitech always delivers on the vibrancy of its RGB and the story is no different here. Configurable through a range of effects, the G Pro X 60 hits the desk with a stock light blue that looks particularly crisp through the main legends. Unfortunately, the same can’t be said for larger keys. Shift, Caps, and even Tab all suffer from only having one LED behind them, leading to light fading towards the start and end of each legend. 

It’s a small nitpick, but the overall effect cheapens the aesthetic significantly once noticed - not ideal considering this keyboard is closer to $200 than $150. There’s also a random Euro symbol on the 4 key of my UK layout device, which looks like a haphazard sticker with its large black outline and random gray text, but is actually printed on the key itself.

Inside, there’s a nod towards the sound-dampening measures being taken by gaming keyboard brands in their most recent releases. Rubber silicone is placed underneath the main deck, but without any thicker wads further down the chassis things feel remarkably more hollow here than in other decks - especially with a tactile switch.

In a room full of variable actuation points, rapid trigger presses, and hot-swappable switches, the Logitech G Pro X 60 is slinging a skateboard over its shoulder and asking ‘what’s up fellow kids’. We’ve done 60% decks - they’re dramatically being outperformed by slightly larger 65% models these days, which maintain a smaller form factor while still giving you access to the navigation keys you need. 2024 is set to be the year of the hall effect switch, so sailing into the summer with an optical set of clickers and limited hot-swap options (no three- or five-pin switches are going in here) Logitech is already at a disadvantage. Throw a $180 / £180 price tag on there and the deck verges on redundant. That is, for everyone except hardcore keybinding managers. 

That’s because the G Pro X 60’s saving grace is its software - and if you’ve spent much time with G Hub in the past, you know that’s already an eyebrow-raiser. 

Yes, the software still needs some fine-tuning, and there are multiple menus that really should have been streamlined when assigning functions, but the level of customization on offer here is incredible. That’s because of Logitech’s ‘Keycontrol’ feature - a third layer of functionality, added separately to the Fn layer commonly found in smaller keyboards, accessible via any button you want (including a separate Logitech accessory). 

Here you can remap pretty much anything, and do so with either a button press, release, or hold, to create some particularly unique keybindings. A press down and hold could, for example, throw a grenade, while a release can switch back to a primary weapon. Up to five different commands can be mapped to any key - you’ll just have to find the right way to use them.

Mapping these commands takes time, though. Each key is set up through a series of menus that can be cumbersome to truck through for every game you need. For players new to the 60% form factor, the restricted form factor can be intimidating enough - but if you’re willing to put the time and effort in, this could be the best way to get stuck in with a miniature keyboard. That’s assuming you want to work this hard to be able to use something you spent $179.99 on, though. Yes, Keycontrol is essentially fixing a problem created by the limitations of the keyboard itself, but if you’re a die-hard 60% fan there’s no better way to make the most of the keys you’ve got right now.

The G Pro X 60 is available with either a linear or tactile switch (I received the latter), with no third-party options. That means you’re at Logitech’s mercy, so you best make sure you’re a fan of your switch type before heading to checkout. You’ve also got a full suite of connections to take advantage of; 2.4GHz being the fastest, Bluetooth is there if you need it, and a USB-C cable for a no-stress session. Battery life is quoted to be at around 65 hours, which I can believe - after a full charge straight out of the box I was able to run the G Pro X 60 for a full work week with play in the evenings without running out of juice.

Performance

The tactile model I received feels nice and comfortable under hand. The light snap of each main key is offset by a deeper feel to the larger backspace, enter, and spacebar keys. That makes for a nice auditory profile, steering well clear of the jarring clacks associated with many tactile decks. This is still a louder set of clickers than you’ll find on a linear keyboard with better sound dampening, but it’s by no means distracting. Everything is snappy and responsive, but I was expecting a slightly more energetic feel across the board. 

Maybe I’ve been spoilt by magnetic switches in the last few months, but there’s only very slightly noticeable drag to the debounce of each key compared to something like the Endgame Gear KB65HE . It’s not likely to be something that interferes with accuracy or speed in more casual settings (actual recorded responses felt instantaneous), but could be off-putting when milliseconds matter. 

Marketing reps of brands like Razer and Corsair will tell you that the limited 1,000Hz polling rate of the G Pro X 60 is the end of the world. High-end gaming keyboards that this deck is competing with are throwing 4K and 8K polling rates around as standard these days, so it does feel odd that Logitech dropped its speed on such a competitively focused deck. In practice, casual players aren’t going to notice a drop in speed here, though the very same competitive players who will want to make use of this compact form factor and extra customization options are going to be let down. 

Should you buy the Logitech G Pro X 60?

Would I buy the Logitech G Pro X 60? No. Would I recommend it to a competitive player with the time and inclination to set it up properly? Maybe. 

It takes a lot of time and learning, but in the right hands the Logitech G Pro X 60 could be a secret weapon. Combining the small form factor of a 60% deck for wider mouse sweeps with relatively easy access to endless combinations of custom commands means the X 60 is well positioned in its competitive market set. If you’re not fussed about swapping your switches or adjusting your actuation points, there’s actually a solid feature set for you here. No other gaming keyboard that I’ve tested has been able to offer this level of functionality in a 60% form factor - and the more you dig into the customization features the more your opportunities open up. 

For everyday players, especially those who aren’t already familiar with, or fans of, 60% layouts, I would struggle to recommend the X 60. That’s not just because of the limitations of the 60% form factor. A $179.99 / £179.99 price is pretty high considering you’re dropping features like magnetic switches and hot-swappability - features gradually making their way into the mainstream these days. I’d give this optical plate about a year to feel outdated - making an early investment now a little tough to swallow. 

The Corsair K70 Pro Mini packs an abundance of extra features into a similar MSRP but can generally be found for around $100 / £120 day to day. The Razer Huntsman Mini Analog and SteelSeries Apex Pro Mini can both take you much further with their switches for between $80 / £80 and $120 / £130 when on sale, though you’ll be stuck with a wired connection at that price point. All of these keyboards also offer a similar level of control over custom key assignments, all only slightly lagging behind Logitech’s extra functional layer. 

How we tested the Logitech G Pro X 60

I used the Logitech G Pro X 60 for all my daily work and play over a period of two weeks. During that time, I was primarily testing across Fallout 4, New Super Lucky’s Tale, and Doom Eternal, with some more focused testing in CS:GO and Apex Legends. For more information on how we test gaming keyboards , check out the full GamesRadar+ Hardware Policy .  

We’re also rounding up all the best hot-swappable keyboards and all the best wireless gaming keyboards on the market. Or, for something a little cheaper, check out the best membrane gaming keyboards available.  

Managing Editor of Hardware at GamesRadar+, I originally landed in hardware at our sister site TechRadar before moving over to GamesRadar. In between, I've written for Tom’s Guide, Wireframe, The Indie Game Website and That Video Game Blog, covering everything from the PS5 launch to the Apple Pencil. Now, i'm focused on Nintendo Switch, gaming laptops (and the keyboards, headsets and mice that come with them), PS5, and trying to find the perfect projector. 

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Tv/streaming, collections, great movies, chaz's journal, contributors, gone in 60 seconds.

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"Gone in 60 Seconds" is like a practice game between the varsity and the reserves. Everybody plays pretty well, but they're saving up for Saturday. First team is Nicolas Cage , Delroy Lindo and Robert Duvall . Second team is Giovanni Ribisi , Will Patton and Angelina Jolie , who gets second billing but not much playing time. There are lots of subs who come off the bench for a play or two. This is the kind of movie that ends up playing on the TV set over the bar in a better movie.

Nicolas Cage plays Memphis Raines, who used to be the greatest car thief in Los Angeles ("I didn't do it for the money. I did it for the cars"). Now he has retired to the desert to run a gas station and go-kart track. He retired because his mom asked him to. She was afraid his younger brother Kip (Ribisi) would become a thief, too. Kip became a thief anyway. Kip steals a car, recklessly leads the cops to a chop shop and angers a vile crime lord named Raymond ( Christopher Eccleston ), who, according to a line Robert Duvall successfully says out loud without laughing, is "a jackal tearing at the soft belly of our fair city." Memphis learns about Kip's screw-up from one of his old crew members. He visits Raymond to try to set things right, but Raymond has Kip handcuffed inside a car and threatens to crush him and sell him as scrap metal. Memphis can save him by stealing 50 hard-to-find cars. Memphis recruits an old pal (Duvall); together they assemble a very large team in a very long and boring sequence that produces so many car thieves we can't keep them all straight. It looks like they sent out contracts to a lot of actors and were surprised when they all said yes.

The pros try to steal the 50 cars. Delroy Lindo, as the cop, knows who they are and what they plan to do, but wants to catch them at it. He intuits that the key theft will be of a 1967 Shelby GT 350 Mustang, a car Memphis both loves and fears. "He'll save that for the last," says Lindo, planning to nab him in the act. This decision means that 49 cars will already have been stolen before Memphis moves on the Mustang. I am reminded of the line from " Fargo " when Marge tells her deputy, "I'm not sure I agree with you a hundred percent on your police work there, Lou." There isn't much time for character development. Cage walks onscreen with his character already established from " The Rock " and " Con Air ." Duvall is . . . Duvall. Angelina Jolie's rare appearances are reminders she is still in the picture. After the confusions of the recruitment scenes and the puzzlement about who all these guys are, it's a relief when the movie goes on autopilot with a fabulous chase sequence and an obligatory final confrontation inside a flame and steam factory.

We have discussed flame and steam factories before. They are cavernous industrial locations with flame and steam in the background and no people around. The moment I saw the first shower of sparks, I predicted that Memphis and Raymond would eventually be climbing around on high catwalks while shooting at each other, that Memphis would inevitably cling to a catwalk by his fingers, and that Raymond would fall to his death. See how well your own predictions turn out.

The chase sequence is fine. Memphis hurtles the Mustang down city streets and alleys and hits 160 m.p.h. in a drainage ditch, outsmarting a police helicopter by taking the tunnel under the airport while the copter is waved away from commercial air space. There is a stunt jump that would have made Evel Knievel famous, and dead. All of this is done in weirdly underlit saturated dark colors; the movie desperately yearns to be in sepia tone, and some of its skies are so dark, you're looking for the twister.

Movies like this are what they are. "Gone in 60 Seconds" is a prodigious use of money and human effort, to make a movie of no significance whatsoever, in which the talents of the artists are subordinated to the requirements of the craftsmen. Witnessing it, you get some thrills, some chuckles, a few good one-liners, and after 119 minutes are regurgitated by the theater not much the worse for wear.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Gone In 60 Seconds (2000)

Rated PG-13 For Violence, Sexuality and Language

119 minutes

Nicolas Cage as Memphis Raines

Giovanni Ribisi as Kip Raines

Delroy Lindo as Detective

Robert Duvall as Otto Halliwell

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This summer, John Krasinski makes one for the kids with the imaginary friend fantasy ‘IF’

John Krasinski doesn’t usually fret about reviews. But for his new film “IF,” he is terrified of the response from two people: His 7 and 10-year-old daughters.

“I’ve never been worried about two reviews more in my life,” Krasinski told The Associated Press in a recent interview. “I’m genuinely terrified. I hope it goes well.”

“IF,” about a young girl (Cailey Fleming) and her neighbor (Ryan Reynolds) who can see everyone’s imaginary friends including those that have gotten left behind, is one of this summer’s major studio releases opening on May 17. In a landscape full of brands and franchises, it’s the rare original idea that has the backing of a big studio, Paramount, and an ambitious scale and scope. It was shot largely in New York by Oscar-winning cinematographer Janusz Kaminski and blends live-action and animation with an army of celebrity voices including Steve Carell, Phoebe Waller-Bridge, Matt Damon, Jon Stewart, Maya Rudolph and the late Louis Gossett Jr .

The idea to make a film about imaginary friends started and evolved with his kids, whom he shares with actor Emily Blunt (who also voices a character). At first, it just sounded like a fun, family friendly idea.

“My kids are extremely imaginative,” Krasinski said. “I always used to say to Emily, ‘I just, I wish we could go wherever it is they go, just for a little bit.’”

Paramount agreed and in October 2019 signed on to help make and distribute the film, with Krasinski and Reynolds’ Maximum Effort. Then the pandemic hit and like so many parents of young children, he saw his daughters’ worlds alter dramatically.

“They started asking questions like, ‘Are we going to be okay’ and ‘what’s going on?’ I got so panicked. I just said, no way, we’ve got to do something about this,” he said. “That’s when it hit me to make this movie about something a little bit more, a little bit deeper than just imaginary friends.”

When he started to look into the psychology behind imaginary friends, he began to understand that these weren’t just whimsical creations. They were in fact coping mechanisms to “metabolize” daily life, whether it’s bullies at school, a divorce at home, a projection of dreams and ambitions, or any number of stressors that find their way into young minds. He understood it now as a sacred place.

“Once I realized that we were dealing with some high-level stuff, some highly imaginary, flammable stuff, I was like, this is really, really exciting,” he said. “I knew we were on to something special, and I just wanted to take it as seriously as I could.”

DIRECTING WITH FIGMENTS OF THE IMAGINATION

To play the young girl, Bea, Krasinski cast 15-year-old Cailey Fleming (she’s now 17), an actor who “Walking Dead” fans will know as Judith Grimes. She’d just wrapped season 11 of the show and was getting ready to take a break and go back to high school when she got the call that Krasinski wanted her to audition.

“I’ve never had a lead role in a movie,” Fleming said. “I was so nervous. But I couldn’t have asked for a better cast or crew.”

On a set where most of the characters would be added in post-production, Krasinski took pains to ensure that they weren’t just acting with tennis balls as stand-ins. Sometimes he’d have puppets, or a picture, or even a friend to be Carell’s character, Blue. Other times he’d just jump in and do it himself (in addition to directing and playing Bea’s dad).

“Cailey is Meryl Streep-level. She could have acted with a hot dog on a stick,” Krasinski said. “I’ve been there, I’ve acted with the tennis ball. You just try to create a world where everyone feels not only safe and excited, but also feels like their imagination takes over.

“My job as a director is to try and make every day feel like you’re doing a play rather than a movie, that it feels intimate and it feels for today only,” he added.

Many of the starry voice actors are people whom Krasinski considers friends. He wasn’t sure how they’d respond to his idea, but he said he got some of the quickest “yesses” in his career whether they had kids or not.

“It’s about this little girl but it has adults asking when they gave up on their imaginary friends and imaginations and dreams,” he said. “The beauty of the movie is it tells you that all you’ve got to do is turn around and you can always go back.”

Recently a friend of his said “IF” reminded them of “Some Good News,” the popular web series Krasinski started during the pandemic. He hopes that like “Some Good News, ”IF” is something that can bring people a little joy.

GIVING UP 'A QUIET PLACE'

Taking on “IF” also meant passing the torch on the new “A Quiet Place” prequel. “A Quiet Place” helped put Krasinski on the map as a filmmaking force and its sequel was an early and important boon to struggling movie theaters during the pandemic. But between “IF” and the “Jack Ryan” show , something had to give.

He’d developed a story about the first day of the invasion in New York City, and sought out “Pig” filmmaker Michael Sarnoski to see if he was interested.

“(John) really helped me early on. Then he let me run free and explore things,” Sarnoski said. “He came to set the first day and sort of passed the baton symbolically. I got really lucky that he was like, ‘Hey this is a Michael Sarnoski film. Make this your own.’”

Far from being bittersweet, Krasinski said it’s exciting and an honor “to have created a sandbox that anyone can play in.” Another big summer release, “A Quiet Place: Day One” opens in theaters on June 28.

Both films he’s done in partnership with Paramount, a studio he credits for trusting and supporting his vision.

“Once ‘IF’ became more emotional and had more of a backbone to it, I think they leaned in even further. Some studios would go like, ‘Oh, no, we want the zany version,’” Krasinski said. “I think because ‘A Quiet Place’ had that same backbone, that same emotional motor, they just said, ‘Go do what it is you’re seeing in your head.’”

Krasinski has just put the finishing touches on “IF,” which means that his daughters will be seeing it very soon. They’re planning to do “a little family premiere.”

“We’re going to get all dressed up,” he said. “Basically we’re going to pretend it’s their own special premiere. Don’t tell them that it’s not the real thing.”

For interviews, reviews and more coverage of recent film releases, visit: https://apnews.com/hub/movies

More From Forbes

The ‘fallout 4’ next gen update is not going great.

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Bethesda is riding high off the success of Amazon Prime’s Fallout TV show, which has blown up interest in the last four Fallout games, Fallout 3, 4, New Vegas and 76, increasing sales and playercounts massively.

It is great timing that Fallout 4 just got a “next-gen” update after many years, except that…it is very much not going well, and for some it’s doing more harm than good to the game, and reinforcing Bethesda’s “buggy” reputation. What’s going on?

• PlayStation players who got the game through PlayStation Plus Extra were not able to upgrade to the next-gen version, confusing many. Bethesda has now chimed in that it will indeed be available without explaining what happened, but hopefully at least that aspect will be cleared up soon.
• On PC, there is concern that this really did not do all that much and actually broke a lot of things. The number of bugs fixed is not all that many for an update supposedly this big. The update has broken a number of longtime Fallout 4 mods many players have been running for years and thrown future mod projects into chaos. And while there is now ultrawide support for the game, it stretches out the UI with no FOV slider to be able to fix that. The game is also still locked at 60 fps on PC and cannot go higher.
• Steam deck users have had their settings wiped out by the update in addition to the above PC issues.
• Quality mode for the game is broken on Xbox Series X/S, according to reports. Disabling performance mode doesn’t do anything, as the game stays at 60 fps and the resolution remains the same. This does not appear to be happening on PlayStation.

Best Nintendo Switch Games: It’s Mario’s World, We’re Just Visiting

This does seem to be going at least somewhat better on console than PC, which I suppose was the main focus of the “next-gen” update, given the next-gen consoles we’re talking about. But it’s not a great start and many players excited to play an upgraded version of the game have been left disappointed. Perhaps this will all be fixed in time, but it shouldn’t have rolled out with all these issues, that’s for sure. I thought Bethesda was getting a bit better with this stuff (I legitimately did not have a single serious bug in my first Starfield playthrough) but this needed some more time and care.

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The 2024 Skincare Awards

The skincare frenzy is in hyperdrive, and the must-have formulas are both elegant and effective. Here, our definitive list of your routine’s new status symbols—all selected and anointed by Bazaar editors and experts.

MASKS, ESSENCES, TONERS

Moisturizers, kick off your skincare routine the right way: these cool cleansers are packed with active ingredients..

Milks, masks, and active-infused toner serums are the last pieces of the puzzle to unlock glowing skin.

No product works harder than a serum to deliver skin-transforming results. Here, the bottles we can’t stop talking about.

Out of the hundreds of creams we slathered on this year, the winners here delivered on the promise of instantly plump, radiant skin.

A brightening eye cream is essential if you’ve stayed up too late watching beauty routines on TikTok.

Sunscreen is like insurance for all your other creams and potions, and the best ones feel equally luxurious.

We tested enough tools to make Home Depot jealous, and these are the ones that transformed our skin this year.

Place these lip picks in every handbag—and on your bathroom counter—to keep them hydrated 24/7.

Skincare shouldn’t stop at your neck. These firming formulas will level up your body-care routine.

Why trust Harper’s Bazaar ?

For more than 150 years, Harper’s Bazaar has been the preeminent fashion and beauty resource for women at every age. We cover what’s new and what’s next in beauty by working with the world’s leading authorities in dermatology, plastic surgery, cosmetics, skincare, haircare, and fragrance. Every story we publish has been thoroughly researched and vetted by our team of beauty editors and industry experts.

How are the Skincare Award winners chosen?

Our editors test thousands of new skincare launches every year to find the best moisturizers, serums, and devices to achieve healthy, glowing skin. For the 2024 Skincare Awards, Bazaar enlisted the help of celebrity dermatologists and aestheticians to curate and edit our list of the 60 most coveted picks in skincare right now.

Tiffany Dodson is currently the associate beauty commerce editor at Harper’s Bazaar, where she specializes in trend forecasting, building relationships with major and emerging brands, and crafting shopping stories—from holiday gift guides to product road tests. Tiffany's work has previously been featured in outlets like SELF, Bustle, and Teen Vogue, and she's been quoted as a commerce and beauty expert in publications and platforms like The Business of Fashion and NPR’s Life Kit podcast.

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Route 60: Biblical Highway Reviews

Besides the various stops along Route 60, the film is interwoven with some dramatic elements, beautiful artwork, and wonderfully chosen passages of Scripture to deepen the reflections offered by the hosts.

Full Review | Sep 21, 2023