Reviews

Autron VR has just launched in Melbourne, Australia, with a range of shooting games, escape rooms and other VR experiences, all tailored for groups. New Atlas went hands on to check it out – and may have ruined regular escape rooms for ourselves.

Audi revamped the S5 in 2018 and has reshuffled some options for the 2019 model year. Where the S5 really comes in, though, is in the sleek Sportback model. We recently had a chance to put the car through its paces.

Lexus has updated the RC 350 with refreshed styling, a retuned suspension, and smartphone integration. The excellent interior Lexus is known for remains, but the RC does have flaws – it's a beautiful car that could stand some improvement.

First came the Google Home speakers, then we got Home speakers with screens, and now we've got the Google Nest Hub Max – the ultimate Google-powered smart speaker for 2019.

Chevy very much wanted to tie its new Blazer in with the Camaro, style-wise, and has largely succeeded. The Blazer is a good-looking crossover, but a bit confusing as well.

The Motorola One Zoom packs in a quad-lens camera with 3x optical zoom and an ultra-wide angle lens, offering impressive photos for a mid-range phone.

Chevrolet has put some work into its little Bolt electric car, and is aiming for a big payoff as a result. To showcase this effort, the automaker asked us to drive it along America's Northwestern coast.

Fossil is almost single-handedly keeping the Wear OS flag flying in the smartwatch market, and the Gen 5 wearables are the best Fossil smartwatches yet. We strapped one to our wrist to see what it has to offer.

Toyota's 86 TRD Special Edition isn't a daily sports car or a track monster that happens to be street legal. It's somewhere in between the two.

How carried away should you get when it comes to investing in a standing desk? To find out, we spent some time with the Varidesk ProDesk 48 Electric.

Epson recently launched its first truly portable laser projector, the EF-100. New Atlas fired one up to see how it fares.

Is high-frame-rate cinema a technological cul-de-sac, or is it a bracingly new visual aesthetic we just need to get used to?