Reviews | NME

‘The Naked Gun’ review: outrageously stupid comedy reboot fails to keep up with the classics

Liam Neeson steps into the clown shoes of Leslie Nielsen for this zany throwback spoof

The New Eves – ‘The New Eve Is Rising’ review: dancing to the toot of their own flute

The Brighton band are unconcerned by modern trends, building their own singular free-spirited world where they make the rules

President live in London: a brief but commanding inaugural address from rock’s latest mystery

The Garage, July 30: The divisive anonymous band meet the online noise with a triumphant debut headline show – though they might need more songs to sustain their hype

‘Billy Joel: And So It Goes’ review: indulgent five-hour rock doc full of deep cuts

The Piano Man’s candour is commendable but it’s hard to justify this extreme run-time

Blusher – ‘Racer’ EP review: turbocharged electro-pop goodness

The Australian trio recommit to the dancefloor on their second EP, where they’ve sharpened their sound and their hooks

Wisp – ‘If Not Winter’ review: pop shoegaze with ambition and vulnerability

Natalie Lu’s debut album sheds the mystique, revealing her strongest songwriting yet

‘BTS ARMY: Forever We Are Young’ review: a beautiful celebration of the power of fandom

The documentary tells the story of the world-conquering K-pop group through the lens of their devoted fanbase

‘Happy Gilmore 2’ review: Adam Sandler chips in with a crowd-pleasing cameo-filled caper

It’s a comfy, charming revival of one of his most iconic characters

Tyla – ‘WWP’ review: the amapiano star flips fame and fortune into a danceable project

On her first project since the deluxe version of her acclaimed debut album, the South African singer’s focus is on one thing – having a good time

‘The Assassin’ review: Keeley Hawes’ “perimenopausal James Bond” thriller hits the target

License to kill? What about a license to sort breakfast and do the school run