TV REVIEW: SHOGUN (Miniseries)

4/5

The Last Shōgun.

10 Episodes. Starring: Hiroyuki Sanada, Cosmo Jarvis, Anna Sawai, Tadanobu Asano, Takehiro Hira, Tommy Bastow & Fumi Nikaido. Created By: Rachel Kondo & Justin Marks. On: Disney +.

Just like the 'Seven Samurai' of Japanese legend Akira Kurosawa have influenced everything from 'Star Wars' to the latest Zack Snyder 'Rebel Moon' awakening, intended force. Great Japanese actor Hiroyuki Sanada has inspired Hollywood, from Marvel movies to Snyder's 'Army Of The Dead'. Ever since he made his across the ocean breakthrough in Tom Cruise's 'The Last Samurai', alongside fellow Japanese legend in Hollywood, Ken Watanabe, from Christopher Nolan movies to Stateside versions of 'Godzilla' himself. Now over two decades later, as Watanabe stars in the second season of the yakuza detective drama 'Tokyo Vice', Sanada steals the spotlight in the hallmark Hulu historical drama 'Shōgun', a Star streaming Fearless FX drama on Disney Plus. Ten top episodes of this epic miniseries mesmerize and make it one of the most meaningful and monumental ones of 2024. A game of thrones and royal appointments to behold as heads roll for something bigger and more burdensome than a mere hollow crown. Now the only question remains in this age of 'Poor Things' and award winners. What's the best new expression for, you know what? "Pillowing", or "Furious Jumping?"

Created by Rachel Kondo and Justin Marks, and adapted from James Clavell's 1975 novel and a 1980s fellow miniseries of the same name, this American historical drama set on the shores of Japan is no whitewashed affair, not fully understanding the Japanese way in all their time, tide and traditions, even in the terrific title sequence and searing score. 'Calm With Horses', 'Lady Macbeth' and 'Persuasion' breakout star Cosmo Jarvis makes sure of that, as you will come to understand just like his well-intended, but at times fumbling, yet compellingly and completely human character does. It's a high watermark acting achievement for Cosmo. No longer lost in translation, next to Anna Sawai and their somewhat subtle, but undeniably combustible chemistry. Expect Emmys for Anna, who after starring in 'Annie', 'Giri/Haji' and 'F9' from the 'Fast and the Furious' franchise is a star of right now. Holding all her grace and poise in a deep and commanding performance that shows how far we've come. Damsel? Are you trying to distress us? You haven't seen heroines wrote this broadly or beautifully in Japan since Ghibli in the 80s, let alone the rest of the watching world that will be in awe. If you want to understand more about the life of Japanese people and the faces they choose, or refuse to share. Look no further than how she puts love and marriage into perspective. Or life itself, when the ground shifting under your feet in the Far East could dictate your fate at any second. As real and authentic as it gets.

Putting it perfectly, Sawai steals the show, even from the legendary Sanada, who from the science-fiction of life, to the crossing genres of the feudal 'Westworld', is as versatile as they come in Hollywood. 'Mortal Kombat' made him a recognizable face, even behind that mask. His Lord Toranaga will make him a household name...on any plain. Take Tadanobu Asano's complex character too, and you have an even deeper and darker role for another Japanese talent whose made his name in America thanks to Marvel movies (he's one of Thor's merry men), Martin Scorsese's 'Silence' (he's similar to another character in that movie), Jared Leto's 'The Outsider' on Netflix, 'Battleship', '47 Ronin', and 'Mortal Kombat' with Hiroyuki. A tenacious Takehiro Hira, terrific Tommy Bastow and formidable Fumi Nikaido (she'll straight scare you with her stronghold) round out the rest of the classic cast in this slow burner that makes you earn the holy trinity of its harrowing and haunting last three big episodes that may just break you. The military minds of this art of war, study more strategy than just classic combat scenes, but there's enough amazing action to keep you sated and satisfied. Still, if you were expecting a big battle in this crimson tide, don't be disappointed. This favourable show is not just for decadent display. It's a fable about forging peace and a new world order, just like Japan did, especially in the face of a world at war today. You only need to watch the Oscar winning Best Picture of 'Oppenheimer', that's finally made its way to Japan after a long and justified delay, to see all that war has done to this nation and the rest of the healing world. And how much we sometimes need to pull back instead of draw our swords for a second. From beautiful moments of deep dives, to pulling ships from the sea, you can see there's a peace in the stillness we all could do with savouring. TIM DAVID HARVEY. 

Further Filming: 'The Last Samurai', 'Game Of Thrones', 'Tokyo Vice'.

REVIEW: REBEL MOON - PART TWO: THE SCARGIVER

3/5

Scar Tissue.

122 Mins. Starring: Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae, Ray Fisher, Staz Nair, Fra Fee, Elise Duffy & Anthony Hopkins. Director: Zack Snyder. On: Netflix. 

Giving us 'Part Two' of his 'Rebel Moon' best 'Star Wars' intention and impression on Netflix, Zack Snyder leaves us with 'The Scargiver'. Reigniting the embers of 'The Child Of Fire'. The 'Man Of Steel', 'Batman v Superman: Dawn Of Justice' and 'Justice League' (his cut) director's epic space opera that feels like it's lifted off the pages of a graphic novel to immortality like this.is.'300', continues the legend's streaming service legacy IP like the spin-offs from his zombified 'Army Of The Dead'. Just watch, man, as the redefining 'Dawn Of The Dead' remake geek God blends genres and his own work beautifully. At times, 'The Child Of Fire' and 'The Scargiver' twofer feels like the 'Star Wars' droid fans were looking for it to be. At others, a monster mash of his own movies, or the epic fantasies of 'The Lord Of The Rings', 'The Hobbit', 'Game Of Thrones' or the 'Harry Potter' franchise, complete with 'Legend Of The Guardians' owls. It's a hoot. The only question remains, is will you wait for this direct sequel's R-rated Snyder cut to truly get the best and most brutal version?

You see in this era...or week, of Taylor's new album, not much else gets a look in (sorry, Pearl Jam). But Snyder needn't put himself in the 'Tortured Poets Department' with all those other moviemakers like Ethan Hawke and Josh Charles of 'Dead Poets Society' in that video with Post Malone. Oh Swiftie, my Swiftie. 'The Scargiver' still leaves you with something to remember. Getting read for epic battles like lords and rings of power in Hobbiton, just darker still like the eye of Tolkien's 'The Silmarillion'. Sharecropping and stream crossing has never looked this GQ, farming these grand genre co-singers for all their worth. Culminating in a classic skirmish that sees ships fall to the sea, like 'Star Trek-Into Darkness'. Heroes and villains fall down floors together that now become slip and slide game with no footholds, like the skyscrapers of 'Transformers: Dark Of The Moon'. Flying forever like that runway off the sixth 'Fast and the Furious' film's London drift. Not to mention those duels with the swords of more than steel, but less than a Lucasfilm lawsuit. Dry-ice steam, looking like someone left the kettle on the stove. Yet nothing is overcooked here in this mesmerizing Motherworld of compelling, contemporary Snyder-vision cinematography. A rebel...with his own cause.

On the lighter (day battles looks like a new left turn for Zack) side of the Moon of Veldt, the warriors of Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae, Ray Fisher, and the narration and robotics of Sir Anthony Hopkins reprise their roles from the first film. Boutella, a blast, armed with two guns Han would be proud of, proving she's a star. Not to mention a comic-book epic fantasy player. Huisman the heart, and the one that you want like his Baz Luhrmann and Lo-Fang Chanel No.5 classic commercial with Gisele Bündchen. The perfect pair is a cut above the rest, as they change their signature styles before the battle to serve iconic looks. Meanwhile, Hounsou, like Fisher, beautifully shows he has another note to his already terrific talent. Doona Bae continues to grip us with the gauntlets of her streaking, sabre like swords. And 'Deadpool' villain and do the right thing previous 'Hellboy' one Ed Skrein continues to have the untamed, unleashed fun of his life. Add the powerful potential of a new, young big-three in Staz Nair, Fra Fee and Elise Duffy and if the rumours and teases of this not being it are true, then this series of events and fellow films are in safe hands. It will certainly make up for the Hopkins C-3P0 gentle droid like teased disappointment. Or the charismatic vacuum left by Charlie Hunnam, only being in this part's predecessor that came mere months ago, last fall. Still, dismiss this for your latest bingeable Netflix obsession at your peril, reindeers. We don't want this Chili Pepper hot movie for your rotting tomatoes, to be scar tissue we wish you saw. Especially when it's denied and derived by sarcastic mister know-it-alls online. Critics will have their field day in this open world, but it's still a saga worthy of its own fire. It takes a village, and this Akira Kurosawa inspired picture, may not be Disney, but it's deserving of its own trilogy. TIM DAVID HARVEY.

Further Filming: 'Rebel Moon - Part One: A Child Of Fire', 'Man Of Steel', 'Star Wars-Visions'.

REVIEW: PRISCILLA

4/5

The King and I.

114 Mins. Starring: Cailee Spaeny & Jacob Elordi. Director: Sofia Coppola. In: Theatres.

Queens of the desert, don't be fooled. Toxic, tender and true. Are you familiar with the amazing American artist Lo-Fang? Made famous by his creative cover of 'Grease's' 'You're The One That I Want' on the Baz Luhrmann (who this reviewed movie replies too) directed Chanel No. 5 (who this reviewed movie gives thanks too) classic commercial starring Michiel Huisman alongside Gisele Bündchen. If so, you may have heard his out of this world, spacey cover of Elvis Presley's 'Don't Be Cruel'. To end this terrific take, we hear the king himself speak like he was being radioed down to Houston from out of space, or perhaps even higher still, in the heavens. "I'm proud of the way I was brought up to believe and to treat people...and uh, I have respect for people. And when I am pushed to a certain point I have a very bad temper, uh...but that doesn't happen very often, of course everybody has a temper. And then I don't like myself later."

That mood is managed magnificently in the mesmerizing new movie from 'The Virgin Suicides', 'Marie Antoinette' and 'The Beguiled' remake director Sofia Coppola, now as famous as her family for more than 'The Godfather Part III'. As the Best Actor Oscar winning 'Elvis' (check out Austin Butler, minus the quiff, in a scene stealing tear on 'Dune: Part Two'), focussed on the relationship between The King and Colonel Parker (played perfectly, and differently by Tom Hanks), who here is a phone call away, Mrs. Presley was sidelined like she never should have been in that film, or life itself. But now another gem from A24 and Mubi, 'Priscilla' is the perfect reply. 'The Bling Ring' and 'A Very Murray Christmas' director, who last gave us the outstanding 'On The Rocks' with the 'Ghostbusters' legend, is no stranger to the Eamon and Frankee F you right back and forth. They say Spike Jonze' hallmark ahead of its time 'Her' was actually a response to Coppola's opus of 'Lost In Translation'. And this movie about the Queen to Elvis' King features signature skinship styles (camera flashbulbs, revealing the real portraits of what lies behind the photographs. Slow and sombre drives away from what seems like a paradise to a whole new type of freedom of uncertainty) to Sofia's love story starring Bill and a young Scarlett Johansson in the same Park Hyatt this writer now frequents after being moved to move to Tokyo, ten years after seeing Coppola's cinematic classic capture his heart, only to leave it here in Japan.

Yet with class, like fellow great actress turned even better director Olivia Wilde's classy response to being served on stage by Jason Sudeikis, don't worry, darling (or Graceland gate storming like Springsteen fans), this is no hatchet piece. More the restrained passion of a sobering relationship drama that shows all the love, hate and war that we can all relate to as we go through this nuanced life where all is not fair, but we can cut a clear path of where the hurt comes from in raw retrospect. The dark side of Elvis actually sits with respect as the perfect companion piece to the blingy Baz Luhrmann directed blockbuster that took the ring like King James' version of crowning achievements in these game of thrones. It's dignified, but does not shy away from what he did...and even why. Estate be damned for their dismissal. Real love is only right if you recognize the wrong too...and at least atone. One biography about King of the ring, Muhammed Ali actually deep dived into Elvis never being the same as he crawled on the coffin of his mother, begging her to wake up and come out. Brutal. That's also compelling, captured on camera between Coppolla and Jacob Elordi perfectly. 

'The Kissing Booth' star gaining even more recognition for the sensational 'Saltburn' is also worthy of an award for his royal appointment as Elvis. Sure, so soon, after Austin, it seems like this would play in the shadows of the Butler who served us with a redefining role so strong that the accent stuck. But many men (Kurt Russell, more than once) have played the King, like they have an even better one in MLK, and more still will. Yet, this is 'Priscilla's' movie...literally. Produced by Priscilla Presley herself (who loves 'Elvis'...and of course Elvis) and based on her book ('Elvis and Me'), this 80th Venice International Film Fest favourite stars Golden Globe nominee for Best Actress, Cailee Spaney. And this is much a coming of age tale for the mid twentysomething actress who plays Priscilla from her too young teenage years to the same point she's at now. As classically compelling as Coppolla's cinematography, Cailee will be as legendary as Sofia's starlets lost, beguiled and blinged. Not to mention those virgins and Antoinette. Going off their heads, this is survival, anything but suicidal, or a "sad girl" stereotype from critics and cynics. The 'Civil War', 'Uprising' star gives us an acting masterclass for one of a woman finding her own agency. After hollow worship, this biography takes the real crown. TIM DAVID HARVEY.

Further Filming: 'Elvis', 'Jackie', 'Lost In Translation'.

REVIEW: THE IRON CLAW

4/5

The Iron Men.

132 Mins. Starring: Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Stanley Simons, Holt McCallany & Lily James. Director: Sean Durkin. In: Theatres.

Claw caught in a cruel fate that shows fingers are fickle, if you're not familiar with the history of wrestling, then you'd be forgiven for thinking that 'The Iron Claw' is not a true story. Too tragically unbelievable to be true, but this is as real as a 30 for 30 and needs to be documented for more than the ESPN crowd. As dynamite director Sean Durkin ('Martha Marcy May Marlene', 'The Nest') whose favourite films include 'Jaws', 'The Shining' and the sobering Al Pacino classic 'The Panic In Needle Park' (which this strings out stirringly like) adapts what should be a book for the new modern day legend of an A24 movie (co-signed by the BBC). That number, especially in this year, should certify a classic like Kobe...particularly when it comes to sports drama. But what's almost as surprising as the true nature of this tale, is that this last dance and waltz in the ring avoided the Academy's tickets like wrestling does real hits. But this one, that should be, pulls no punches with an even more fitting tribute to the true nature of wrestling when one character curiously questions its integrity. That word influences and inspires this whole picture that takes its own belt as one of the definitive fighting family dramas, like Miles Teller's post 'Whiplash' blood on the drum skin, 'Bleed For This'. Into an arcade of fire like its searing score from the singer in the mahogany aesthetic of this classic American family truth telling.

Wrestling with Mickey Rourke's Springsteen song 'The Wrestler', and the serious coming out party of Steve Carell, alongside a formidable tag-team tandem of Channing Tatum and Mark Ruffalo catching foxes, 'The Iron Claw' grabs hold and won't let go as part of that ringside big-three. Sports stories have always provided cinemas with great theatrical takes. The creed of boxing blockbusters like 'Rocky'. All the football films of Friday night lights on any given Sunday. And even all the latest basketball big-hitters like baseball's 'Moneyball' that have come court on a field of their own dreams on a cinematic court canvas. It's like the art of the games themselves, and now wrestling pins you to your compelled seats with this indie hit that will feature in the best kind of local cinemas from fact in Liverpool, to Kino in Tokyo (what a way to go). Clawing away at the game like Tom Hardy's 'Warrior' (also Oscar oppressed) did for UFC in this modern day 'Road House' remake amazon with a cheeky Conor to strut around with Scouser swag from the Irishman. This brutal, yet beautiful biographical film about the Hall of Fame legendary Von Erich family is something you will never forget. Even, if, like me, this is your first introduction to them. Marked by tragedy that seems like a curse, you can guess what happens next, but if this is the first time you've seen them against the ropes, the story should be theirs to tell, not mine. In an all too real film that actually has one heavenly, beautiful moment that's truly touching and looks as genuine as the grace of the angles that walk with us in this spirit of embracing brotherhood. To the Stetson, a Texan theatre premiered this picture, that despite the lack of awards, actually earned the prestigious, undeniable honour of being one of 20213's top ten best by the National Board of Review. This World Class Championship Wrestling (WCCW) signature move is spearheaded by none other than Zac Efron, with arms and Rock 'Baywatch' body oil for days. But not many pants to go with those budgie smugglers, only distracted by the classic 'cuts. 

Ever since 'High School Musical', Efron has balled out. Showing he had the comedy chops as one of Seth Rogen's 'Neighbors'. But watch this, this is where he really shows you he can actually act like 'The Paperboy' with McConaughey and Kidman. But for his greatest show, man, this is his best biopic since Bundy, ' Extremely Wicked, Shockingly Evil and Vile'. With subtle, bracing beauty as he heartbreakingly sleeps in the gym away from his family and the lovely Lily James in a powerhouse performance, as he doesn't want his newborn to be touched by his curse. You can't blame him, or the hurt in turn that it causes, which is felt...like a curse. Straight out the kitchen, 'The Bear' megastar Jeremy Allen White (built like one, or that hilarious meme of him being Gene Wilder with a gym membership), gives us a deeper and darker turn as an aspiring Olympic discus thrower. Whilst you can 'Trust', that in this 'Triangle Of Sadness', the ever versatile Harry Dickinson will break your heart like he did in 'The King's Man'. You won't believe the incredibly versatile actor is actually British, like you can't deny the "WOO" of Aaron Dean Eisenberg as Ric Flair. The inspired introduction of Stanley Simons, who just wants to sing, will truly break you too. No matter the restrained passion nursing of 'ER' legend Maura Tierney. Alongside the Lavar Ball well-intentioned overbearance of Holt McCallany, and it's road to hell message. For Holt, who character acted with so much of that in so many films before making his mark in Netflix's 'Mindhunter', should have had his Oscar nomination for this. This is kind of the passed over ignorance that the real family's father felt they faced in real-life. In a way, it's a disgrace, but 'The Iron Claw' should get a hold of you for other reasons. To tell you, how fleeting this life is. And that no matter the success, it, or the ones you hold closest, could be all gone in an instant. So hold them, just as close, and don't let go of the notion that real success is found in family and the eyes of the one's staring back at you. As you embrace in the face of it all. TIM DAVID HARVEY.

Further Filming: 'Foxcatcher', 'Bleed For This', 'The Wrestler'.

TV REVIEW: CURB YOUR ENTHUSIASM - Season 12

4/5

Pretty Little Larry.

10 Episodes. Starring: Larry David, Jeff Garlin, Cheryl Hines, Susie Essman, Richard Lewis & J.B. Smoove. Directed By: Robert B. Weide.

Here's a pretty, pretty good story. About two years back, I went on a date with a wonderful American woman who I didn't want to stay away from me like Lenny Kravitz sang. I thought it went pretty, pretty well. I took her to the New York bar in Tokyo's Park Hyatt hotel, made famous by the Sofia Coppola classic 'Lost In Translation' love story starring Bill Murray and Scarlett Johansson (this is where the two other women I've been on a date with during my swipe right time are like, "you took me there too motherf#####", in their best Susie Essman voice. Took the "takai" tab. You know, errr (*Larry David voice*), what you're supposed to do. But then, as I got home and we made it Instagram official, swiping through her pictures of the night I saw the same skyline and then the meme of memes..."Directed By Robert B. Weide." Bring on the trumpets. I mean, that was a pretty hilarious way of knowing it was a done deal. I should have married that one.

More heartbreaking than realizing that even with my LD hairline and fashion choices, I can't seem to inexplicably date everyone from the Hollywood star here, to Xena Warrior Princess, is the fact that we have to come to terms with the fact that this is the last season of the classic HBO show 'Curb Your Enthusiasm'. A baker's dozen of twelve terrific seasons that redefined comedy and the improv of sitcom...even bringing the master of such Vince Vaughn to a recurring role that pays tribute to the late, great Bob Einstein. After all this time, what's your favourite episode? For this Lakers fan, I'd be tripping if I didn't say the one where Shaq slipped, but even those glory days are even boss bested here by THE classic cameo in a coral of them that we compel you not to reveal on the water cooler that is social media. Or how about the best bit on that infamous Oscar's slap? As for all the epic episodes that will now be rerun like...well...'Seinfeld', you don't need to take a trip down memory lane. The final, almost hour long episode will do that for you as it seeks to right the wrongs of the Jerry co-created show that the legendary J.B. Smoove tells Larry he "f##### up", straight. No chaser. As 'Curb' chases this decade's long ghost in the same court-room drama, prison (just wait until you see his mugshot). Yet, comedy clip shows aren't the victory lap franchises think they are, as your Home Box Office continues its trend for stunted season finale's in this comedy game of thrones. Still, it's more of a disappointment that it's over...roll credits and get the hint...like I certainly should have.

Atlanta like Donald Glover plays home to this final dose of 'Enthusiasm' in a child's gambit in the same week we're taken back to '97 for some animated 'X-Men' (sniff...I can't say why) and the other best theme tune ever made. There's plenty here to get stuck into as Larry "Involved" David sticks it to the man and crazy election laws with the most controversial bottle of water since the one he took into the bathroom. Pitching a pants tent, the opening episode, is a real spectacle like putting a lawn jockey outside your home. There's more unFOREgettable golfing moments with Takahashi in a duel worthy of the gladiators. Not to mention stirring addresses, nightmare trips from hell and a classic car you just have to smell like the cheese. Whether your names Ken, or Kendra, you don't need to be disgruntled at this, even if no lessons are learnt by the finale. And that's the point. It's the same old Larry you love. No matter how much he hates this. With Jeff Garlin always by his side like the best, best friend in comedy. Whilst the interplay between the perfect pair and Susie Essman is a comedy trio, big-three like no other, we never want to shut the, or get the f### out our house. Not to mention the candle held for Cheryl Hines, and the 'Cheers' that brings with Ted Danson. Yet for all the dynamic duos, partnering up here, like the classic odd couple moments with J.B. Smoove (with the guffaw inducing explanation of s###) that still bring da ruckus (you haven't been to an all-you-can-eat buffet, until you've been to one with him), it's his friendship from birth with the late, great Richard Lewis, who we lost midway through this season, that really moves us. How could they do another season now he's gone? Simply put, they couldn't. The enthusiasm wouldn't be the same. So as we curb this classic, this is it. And this is for him. There is no better. TIM DAVID HARVEY.

Further Filming: 'Seinfeld', 'Atlanta', 'Young Larry'.

REVIEW: GHOSTBUSTERS - FROZEN EMPIRE

3/5

I Ain't Afraid Of No Frost

115 Mins. Starring: Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, Kumail Nanjiani, Patton Oswalt, Celeste O'Connor, Logan Kim, Emily Alyn Lind, James Acaster, Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts & William Atherton. Director: Gil Kenan. In: Theatres.

There are some stranger things in the neighbourhood, now Finn Wolfhard, McKenna Grace and Carrie Coon are the ones to call for your new 'Afterlife'. They breathed new spunk and spirit into the iconic and retro great 'Ghostbusters' franchise with their new theme. All whilst bringing the old guard back, Dan Aykroyd, Ernie Hudson, Bill Murray and more. Perfectly paying tribute to the late, great Harold Ramis with some spirited CGI emotion capturing. Fans around the world and all the way back to New York City were caught Hook and Ladder to these hearse driving, fire house favourites. Crossing the streams of tears. It helped them get over the 2016 girl proton powered reboot that was actually as alive as Saturday Night and cruelly criticized. And for all those 'busters who get to join the boiler suit donning gang, you would think they could be invited back for a major monster mash-up of a movie too, with Chris Hemsworth manning the phones. Fans shouldn't have listened to Trump. Instead, the 'Frozen Empire' sequel of this new recharged ghost busting franchise brings a touch of frost and a little of a cold front to its New York City paranormal cops. The reception hasn't been a complete cold shoulder, as it's made more money than an ice cream truck in July. But after the new life of its predecessor, the rigor mortis is starting to set in for this frozen film.

Don't be afraid of no ghost, mind you. Because this super supernatural film is still superb in this age of heroes, and a fun film to boot. It's just the leaders of the old and new school Paul Rudd and Bill Murray, reuniting after the 'Ant-Man and The Wasp: Quantumania' sequel, know all about how a slumping sequel can bring the scary out of even the most sought after franchises. Their individual, trademark one-lining, one-of-a-kind humour more than do the heavy lifting with easy whilst the ghost garbage fills to bursting. In this class cast, freshmen and reunion, the same can be said for the class of her own Carrie Coon, 'Stranger Things' and 'IT' star Finn Wolfhard making a new friend a little greener than Eleven, but none less bald and the moxie of McKenna Grace stealing the show and making this Ramis like spectacle her own with Harold hallmarks. Or the innovating originals refusing to trade places, and instead desiring to share spaces. Just like the legendary Dan Aykroyd with a paranormal show that the Riker of 'Star Trek: The Next Generation', Jonathan Frakes would be proud of...and that is true. Or the as magnificent as that meme of him giving it to himself, Ernie Hudson, going yards. Giving this film its heart and inspiration that could convince any cynic or those cashing a cheque that this was the real deal. Add the amazing Annie Potts taking care of everything and the major mayor William Atherton still square, trying to make sure these meddling kids don't get away with anything. Nostalgia on the nose doesn't have to be nuanced when it's in fabulous service of the fans.

Hallmark haunts help this dry ice atmospheric feature from Gil Kenan survive the winter. Not to mention the pre-summer blockbuster march of film fodder. Co-writing a script with Jason Reitman in tribute to his father Ivan, this film is as spirited as the New York it occupies is all pizza grease and subway grime. In the time it takes, here in an NYC minute, you're reintroduced to friendly ghastly faced favourites and a whole new gang of ghosts that still wow like the holograms of a 'Haunted Mansion' at Disneyland. Figure in the recruiting return of the cool Celeste O'Connor and the literal Podcast, Logan Kim, and this fifth film feels as fresh, yet as fond, as all the others in the franchise. Walking around like a Statue of Liberty Easter Egg (just like those classic 80s toy commercials) or Marshmallow Man monster, as we "stay puft" with the new mini scene-stealers of the roasting marshmallows as cute as Groot or Grogu. Then in this spectral spectacle the fire of Kumail Nanjiani, the comic timing of Patton Oswalt, the great British sarcasm of James Acaster looking like the pulp of Jarvis Cocker's son in this fiction, and the Ricci like haunting spectre of Emily Alyn Lind give this empire a new state of mind that stops it from freezing over. For the 40th anniversary like Disneyland, Tokyo, these old ghosts still rock like the boombox busting theme. And as stone lions come alive like the tigers, bears and "oh my" of a 'Night At The Museum' this film and franchise is far from the fridge. Epic exposition chilling us to the core like a Robert Frost poem or an Aykroyd monologue that chews the scenery. Still, if this crew in the coolest cab don't want to be left out in the cold ready to thaw out, they might want to chill for a Big Apple minute and go back to the core. There, this old dog might find some new tricks that aren't so easy to scare up. TIM DAVID HARVEY.

Further Filming: 'Ghostbusters: Afterlife', 'Ghostbusters II', 'Ant-Man & The Wasp: Quantumania'.

REVIEW: OPPENHEIMER

4/5

The Dark Day 

180 Mins. Starring: Cillian Murphy, Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett, Casey Affleck, Benny Safdie, Jason Clarke, Dane DeHaan, Alden Ehrenreich, David Dastmalchian, David Krumholtz, Scott Grimes, Matthias Schweighöfer, Alex Wolff, Jack Quaid, James D'Arcy, Tony Goldwyn, Matthew Modine, Tom Conti, Rami Malek, Kenneth Branagh & Robert Downey Jr. Director: Christopher Nolan. In: Theatres.

'Barbenheimer' may have stimulated the summer season of Hollywood blockbusters in theatres. Bringing bums back to those iconic red cinemas seats that were previously tipped up during the pandemic and the age of streaming. But the memes and artwork it inspired led to cruel controversy targeted here in Japan when last year a fan on X (or some other drug) posted a mocked up picture of Cillian Murphy's J. Robert Oppenheimer carrying Margot Robbie's 'Barbie' (made to look happy and celebrating) away from the atomic bomb blast that destroyed and devastated Hiroshima and Nagasaki. Just another twittering troll on what was Twitter. Until the official 'Barbie' Twitter account in the US got involved and replied, "it's going to be a Summer to remember". As if anyone in Japan could forget. Adding insult to more than injury, they already have to put up with cruel and abhorrent memes every time someone mentions a heatwave in Summer, and now they have an official 'Barbie' representative interacting and unbeknownst to them maybe, co-signing. Then came a soft boycott of 'Barbie' due to the controversy and worse retaliating memes from some X users just as callous, putting the same meme up, but changing the background to the World Trade Center on 9/11 and even making the lovely (and I say this about her character) Margot Robbie (who had absolutely nothing to do with this) looking like she was hit by the bomb blast. Truly disgusting behaviour. Both ways. But not from westerns or Japanese people. Just mindless, ignorant individuals. The kinds we don't have to be.

So you can see why this year's Academy Award-winning Best Picture, 'Oppenheimer' took so long to make it here. As it marches to an eight-month late release this week and end of March. Trailer introduced by Japanese 'Batman Begins' and 'Inception' star Ken Watanabe Then again, the previous Oscar winner for Best Picture (the epic 'Everything Everywhere All At Once') only came out after the Oscars, too. Unless it's a Marvel movie, many films feature here in the Far East a little, or much later. You can see 'Past Lives' in the near future. Some for understandable reason. When you watch Paul Thomas Anderson's legacy making 'Licorice Pizza' starring Alana Haim you can also see why offence was caused in a different, but no less ignorant way. Still, like that, THIS is a great movie. One for all-time. No wonder it sealed seven Oscars. And long overdue winner of Best Director, Christopher Nolan has given us his magnum-opus. And here's this generations' filmmaker like the 'Dune' of Denis after him who has even bested his redefining 'Dark Knight' trilogy, not mention his epic exploration one of 'Inception', 'Interstellar' and the terribly underrated, pandemic lifting 'Tenet'. A memento to his prestige in his traditional trademark directing decadence. Beating 'Barbie', and so many other great films, out the box like Scorsese's historical re-telling, in order to learn new lessons 'Killers Of The Flower Moon' with his own epic ensemble like 'Dunkirk'. Exploring similar themes and Geiger counter like scratching score that itch at you. Even if Hans Zimmer isn't collaborating this time like Nolan and fellow knighted filmmaking and life partner Emma Thomas' former Warner Bros home. Victims of the streams (kudos though to 'Tenet's' Ludwig Göransson ('Black Panther', Childish Gambino's 'This Is America' amongst others) who also took home the Oscar for Best Score). World building, a wild west town like Johnny Depp's 'Transcendence' for this doctor of the Manhattan Project, as the atomic age of building a bomb became the race before the space age one. And who would have thought that a three-hour epic that is almost all talk would not only be an Oscar winner, but the highest grossing movie of the year not made out of plastic? If you build it, they will come to your field of dreams.

Japanese cinemagoers are right in saying that more film-time should have been devoted to the suffering Oppenheimer's bomb cause. This is a place that, like they say in 'Shogun', knows death can come at any moment when they feel the earth move. A presentation of both sides maybe like the great Clint Eastwood's dignified directed career-turn in twin war movies, 'Flags Of Our Fathers' and 'Letters From Iwo Jima'. Yet, there's nothing gratuitous about Nolan's nuanced and wonderful work. No glorification, just conflicted guilt from our pure in his methods protagonist. It's always respectful and dignified, and you don't even see the actual bomb blast here. Just in testing. But there are haunting visions of moments that really step on your chest and one that is truly horrific, and in days gone by before this desensitized age would be all you needed to convey the absolute horrors of all this. Nolan has always been one for symbolism, too, like his hidden tribute to Heath Ledger. Here, a massive globe in the White House's Oval Office almost looks like the very bomb itself and the effect it had on the world as we knew it. A reminder in this cautionary tale that prays for peace, that even if we have great power, it doesn't mean we should wield it. Presided over by a President played by a man we won't spoil, but is no stranger to going to great lengths to play these political figures, hidden here. There's a world of wonderful actors here that deserve to be mentioned in this epic ensemble, mind you. David Dastmalchian ('The Dark Knight', 'The Suicide Squad'), David Krumholtz ('Numb3rs'), Scott Grimes ('ER'), Matthias Schweighöfer ('Army Of The Dead' and 'Thieves'), Alex Wolff ('Hereditary'), Jack Quaid ('The Boys'), James D'Arcy ('Agent Carter'), Tony Goldwyn ('Friday The 13th's' Jason), Matthew Modine ('Stranger Things', 'The Dark Knight Rises') and Tom Conti all show up in small, but significant roles. As do friends of the Nolan's like the great Kenneth Branagh and an Academy underrated Matt Damon, with his friends of the family Casey Affleck showing up like Matt did in 'Interstellar'...it's been enough time now, right.

Although she had strong competition from the 'Barbie' speech of America Ferrera, 'Nyad's' support of 'True Detective' great Jodie Foster, 'The Color Purple' of Danielle Brooks, and well deserved winner of 'The Holdovers' Da’Vine Joy Randolph, Emily Blunt deserved her nod. Bringing some of that sobering 'The Girl On The Train' acting, also whilst stealing the scene in a table flipped moment that is akin to the ace in the hole that is Best Actor winner Rami Malek's character. 'Dune: Part Two' star Florence Pugh should have also garnered a nomination for the explicit soul and pain of her heartbreaking lover. The future is hers. Alongside the likes of 'Uncut Gem' Benny Safdie, Alden Ehrenreich (back after some unfair 'Solo' railroading from 'Star Wars' fans) and the young, great Dane DeHaan in real prominent and powerhouse parts. There's not enough nominations to go around the table, that hides some behind flowers they should be given. The ever consistent Jason Clarke. The return of the poster boy Josh Hartnett, still so fresh to this. There's more to 'Oppenheimer' than just Oppy. Take Robert Downey Jr. for example. An acting ironman in more ways than one. Don't discredit his time locked up in the M.C.U. Nor what he spearheaded with Marvel in career redemption avengance. But this is the man who played Chaplin perfectly. A real bona fide actor with the 'Best Supporting Actor' statue to add gold weight to that claim in compelling courtroom drama in bold and beautiful black and white. To peace. And the 'Peaky Blinder' (movie to come) eyes of Cillian Murphy that has been a mainstay in many a Nolan movie already. But now, more than '28 Days Later' this actor is getting his overdue respect. Reuniting with Blunt after 'A Quiet Place II', haunted by visions even his Batman Scarecrow couldn't conjure up, Cillian's craftsmanship of character confirms this as a classic. Making the Stetson and pipe iconic, as he tells more behind those bookended stares into the void than he does in the stirring science of this incredibly interesting take on THE turning point in world history. Like Alan Turing, J. Robert Oppenheimer finally got his long-awaited due. But who was it for? And right now, we need his story more than anything. But can you tell me, for what reason? TIM DAVID HARVEY.

Further Filming: 'Barbie', 'Dunkirk', 'Interstellar'.