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LDV MIFA PEOPLE MOVER HERE FROM $53,990 Ambitiously priced LDV Mifa MPV has 160kW 2.0-litre petrol, lots of standard kit

„ MATT BROGAN AND HAITHAM RAZAGUI

LDV’s futuristically styled, three-variant Mifa people mover range is now available in Australia from $53,990 plus on-road costs and topping out at $72,990 + ORC for seven-seat versions, while eight-seaters will arrive early next year.

The Mifa’s entry and flagship prices are both higher than those of major competitors including the Kia Carnival ($47,480-$67,580 + ORC), Hyundai Staria ($48,500-$66,500 + ORC) and Volkswagen Caddy Maxi (from $48,140-$54,640 + ORC) – all before on-road costs.

LDV’s ambitious pricing for the Mifa pitches it against TDI340 versions of the VW Caravelle and Multivan ($66,490$75,490 + ORC) as well as the Toyota Granvia ($65,250-$75,950 + ORC).

According to LDV, the Mifa has been designed from the ground up with space, comfort and convenience in mind, while also bringing a comprehensive range of safety features to the segment.

The Mifa range begins with the entry-spec Mode from $53,990 + ORC, followed by the mid-tier Executive from $63,990 + ORC and top-shelf Luxe from $72,990 + ORC.

Alongside the driver, passenger, side and full-length curtain airbags, every Mifa variant is equipped with autonomous emergency braking, adaptive cruise control, anti-lock brakes, stability control and emergency brake assist, blind spot monitoring, lane departure warning and lane keep assist, fatigue reminder and attention assist, LED adaptive headlights with auto high beam assist, auto hold, rear collision warning, rear cross-traffic alert, and a speed assist system.

Executive and Luxe grades get front and rear parking sensors plus a 360-degree camera and adaptive headlights with auto high beam system whereas the entry level Mode has rear sensors, a reversing camera and fixed-beam dusk-sensing LEDs.

The mid-and top-spec variants also get leather-trimmed steering wheels, auto-dimming rearview mirrors, 220-volt power outlet, rear privacy glass and dual pane sunroof that are absent from the base grade.

Over the Mode, Executive and Luxe grades have electric sliding side doors and a powered tailgate, heated auto-folding door mirrors, one-touch front window switches, rain-sensing wipers and cabin air purification. All have multizone climate control.

Exclusive to the Luxe are 64-colour ambient lighting, genuine leather upholstery, eight-way driver’s seat adjustment with memory and front-seat heating, cooling and massage functions, while the Mode has manual adjustment and the Executive has eight-way electric adjustment for the driver and four-way electric adjustment for the front passenger. Executive and Luxe also have four-way lumbar support adjustment for both front seats.

In the second row, manually adjustable seats are in the Mode, the Executive has four-way adjustment with four-way lumbar support control and the Luxe has captain’s chairs with heating, cooling, massage and recline functions as well as extendable footrests. All variants have a manually reclining and sliding third-row bench as well as ISOFIX and top tether anchors for three child seats.

Every variant has a 7.0-inch digital instrument panel and a 12.3-inch infotainment array wutg wired Apple CarPlay connectivity. A six-speaker sound system is fitted to the Mode, the Executive gets eight speakers and the Luxe twelve. Only the latter two get wireless mobile charging

Wheel choices extend to 18- or 19inch alloys in varying designs according to grade.

The Mifa is offered in a range of five colours: Metal Black, Pearl White, Dynasty Red, Mica Blue and Concrete Grey, the latter with an accented black roof.

LDV backs the Mifa with a seven-year/200,000km warranty and five-year/130,000km roadside assistance program with service intervals are set at 12 months or 10,000km (whichever comes first).

All Mifa variants are powered by a 2.0-litre four-cylinder petrol engine delivering 160kW and 360Nm, equipped as standard with an Aisin-sourced eight-speed automatic driving the front wheels. The WLTP Combined cycle fuel consumption figure for the range is quoted at 9.3 litres per 100km.

“The all-new LDV MIFA is a glimpse into the future,” said LDV general manager Dinesh Cinnappa.

“Who said the practical people mover couldn’t look cool? With its revolutionary design, next-level passenger comfort and convenience, and impressive levels of standard safety equipment, the all-new MIFA has advanced the people mover game significantly.

“The all-new MIFA is set to shake-up its segment thanks to its sleek exterior styling, the latest safety and technology features, and room for up to seven passengers to travel in comfort and style no matter how far the journey.”

2023 LDV Mifa pricing*: Mode (a).................................$53,990 Executive (a).........................$63,990 Luxe (a)..................................$72,990

*Pricing excludes on-road costs.

Black Panther: Wakanda Forever - 3 Stars

Messy, overstuffed and without the same cohesive vision as the original, this sequel coasts by on memories of the first film, and touching tributes to Chadwick Boseman.

„ JACOB RICHARDSON

THE death of King T’Challa (Chadwick Boseman) throws the geopolitical sphere into disarray. While Shuri (Leticia Wright) retreats into herself and her technology, Queen Ramonda (Angela Bassett) fronts the UN accusing the nations of the world of increasingly brazen attempts at securing Vibranium from Wakanda.

Little does she know that there’s another party concerned about these attempts; the centuries hidden aquatic race of Atlanteans, led by the superpowered Namor (Tenoch Huerta). Shuri’s initial attempts at diplomacy are scuppered after a violent incursion and tragedy. Now, Shuri must find a way to resurrect the Black Panther and protect her people - and she might just lose herself in the process.

Directed once again by Ryan Coogler, Black Panther: Wakanda Forever was always going to have to overcome the tragic passing of the man who made Black Panther what it is today, Chadwick Boseman. The film bookends itself with touching tributes to the late actor, and indeed winds T’Challa and Boseman’s presence throughout.

There’s also some great acting on display here. Huerta is spectacular as Namor, and indeed the entire mesoamerican sub-aquatic species is rendered in beautiful interpretation, stunningly realized without a shred of fear to shooting endless underwater scenes. It’s a bold vision for the comic book character, but one that comes off extremely well.

Then there’s the action. Despite a briefly brilliant fight scene on a bridge with series standout Okoye (Danai Gurira), and occasional flashes of iconic work with Namor, the rest of the CGI-heavy battle sequences feel flat, dull and frankly more than a little disappointing.

The final battle suffers from Waterworld-esque ocean action issues, and relies way too heavily on CGI suits, flying around and poorly choreographed set pieces.

Script-wise too there is a distinctly underwhelming feeling. For a 2-hour 41 minute film, it’s shocking how much here is just completely irrelevant. The original Black Panther had broadly sweeping emotional beats that felt taut, and paid off. Here, those beats are more ethereal, less formed.

It would be trite to blame all of the issues of this movie on the passing of the original lead. Black Panther: Wakanda Forever does great work in building up Namor and his people. But it loses so much of what gave the first film an identity. And while you could easily make the case that Wakanda Forever is much better than a lot of the superhero fare we’ve had in the last few years, it also doesn’t even come close to holding a candle to the original.

Reviews by Jacob Richardson Creative Director | Film Focus www.filmfocusau.com

The Menu - 5 Stars

Delectable satire melds the salivating cinematography of Chef’s Table with the thrill of Midsommar and the satirical comedy stylings of Bodies, Bodies, Bodies.

„ JACOB RICHARDSON

TYLER (Nicholas Hoult) is a food snob, who takes Margot (Anya Taylor-Joy) to a super exclusive restaurant on an island. The degustation experience doesn’t appeal to Margot, but it does to the chef-obsessed Tyler, along with the array of wealthy diners along with them - food critic Lillian (Janet McTeer), a fading movie star (John Leguizamo), wealthy older couple Richard (Reed Birney) and Anne (Judith Light) and finance bro trio Bryce (Rob Yang), Soren (Arturo Castro) and Dave (Mark St. Cyr).

They are excited to be entertained culinarily by famed Chef Slowik (Ralph Fiennes), but the Chef has something else in mind for the group. That is, at least, until he discovers that Margot was never meant to be there - a spanner in his otherwise flawless plans for the murderous evening.

Directed by Mark Mylod (of Succession fame), The Menu is a beautifully poised, perfectly positioned piece of satire for the Chef’s Table generation. It’s an eviscerating, eat-the-rich take on haute cuisine, that also frequently lambasts social media, cuisine and tech bro culture.

Frequently laugh out loud funny, but also shocking, surprising, beautifully performed, action-filled and thrilling, this plays as the perfect combination of a disparate array of ingredients that have so often been put together with less efficacy and taste in recent years.

The movie frequently has you howling with laughter - not just from the impossibly good dialogue, but even from the spot on menu descriptions on screen, or the sheer ludicrousness of it all.

On a performance level, we’re looking at a Michelin star treat here. Anya-Taylor Joy is fantastic as the main protagonist, and her dining and acting partner Nicholas Hoult is pitch perfect as the whiny, chef-obsessed social media hound.

Ralph Fiennes, however, steals the show with a truly wonderful performance. His slightest nuanced gesture or facial tick conveys so much, and he seems to be having an absolute blast with this slightly absurdist role.

The film chugs along nicely at a wellpaced 1 hour and 47 minutes. There isn’t an ounce of this movie that you would drop without losing something fun, witty, shocking or essential. There are a few plot threads that perhaps are dropped, or at least don’t make complete sense.

But this is absurdist satire, couched in a gorgeous meal and stunning food cinematography - the odd narrative misstep must be forgiven.

At the end of the day, The Menu is a fully satisfying dish from a satirical messaging perspective, from a comedy perspective, and most importantly from an entertainment perspective.