REVIEW: THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

5/5

Missouri Tiger.

115 Mins. Starring: Frances McDormand, Woody Harrelson, Sam Rockwell, John Hawkes, Caleb Landry Jones, Lucas Hedges, Zeljko Ivanek, Clarke Peters, Abbie Cornish & Peter Dinklage. Director: Martin McDonagh.

First Billboard: "Raped Whilst Dying". Beyond brutal, but by jove is 'Billboards' brilliant. 'Fargo's' Frances McDormand is a molotov cocktail of a force amongst a farce in 'In Bruges' and 'Seven Psychopaths' director Martin McDonagh's 'Three Billboards'. A modern masterpiece of the year that is as oddly hilarious as it is assumingly heartbreaking. Such is the ebb and flow of this charred black comedy and dynamite drama spark is going to leave as many people wanting to visit Ebbing, Missouri as McDonagh did Belgium's Bruges. And just like that offbeat, outstanding shot of isolated but inspired dark dramedy that saw Colin Farrell's forlorn, suicidal hitman gain peculiarly both our sympathy and praise. This billboard puncuated picture is chock full of characters with as many heavens gate saving graces as they have hell to pay flaws they fall through again and again like that old, creaking floorboard you should always have repaired, if not fixed to step over. But frankly not Frances. McDormand is dormant in that department. Alive despite being soul broken dead inside following the evil assault and death of her daughter. She ties her hair up as folically far as it will go north, pulls on some blue overalls all the way to her collar and crack of a new dawn gets to work on finding the man who murdered her baby girl. And seeing as Ebbing, Missouri's local police department would rather investigate a case of Krispy Kreme's than a young woman's ravaged rape, torture and murder, she more than sprinkles them with some truth. She pepper sprays them in a way none of their coffees with extra sugar could wake them. Firebrand papering some previous derelict pop art torn billboards of various commercials past with a scarlet letter so rage raw red it engulfs all blue and white police cruisers that patrol past like the very sirens they should be putting on. Just give the Cohen 'Raising Arizona', 'Burn After Reading' and 'Hail Caesar' triple crown actress the Academy Award already. Even if Oscar queen Meryl Streep is about to 'Post' her latest ballot and next, best actress of the moment Jessica Chastain has given a big-three of her best last year all worthy of a nomination ('The Zookeepers Wife', 'Miss Sloane' and 'Molly's Game'). As McDormand and McDonagh (reuniting with almost as many 'Seven Psychopath' players (Harrelson, Rockwell, Ivanek and Cornish)) give us an instant classic that will legacy last beyond any award season for their billboard moment.

Second Billboard: "And Still No Arrests"? And whose fault is that? Well according to the police report, Chief Woody and his partner so buzzed he's lightyears away from that detective detail he craves as much as the heroes in his comics he'd love to be if only he could get his feet off the desk and his badge pinned on his shirt properly. Or as they more commonly go by in the Hollywood industry Woody Harrelson and Sam Rockwell. Two former platinum character actors turned leading men with definitive distinction. Who despite the character problems here in the middle may act like they might actually come good when it comes to a different sort of Academy. And boy do they have the best lines here to deliver this. 'Cheers' Norm familiar face Woody may have shown us that 'White Men Can't Jump' whilst earning his jersey name in the franchise likes of the sequel leaden 'Hunger Games' and 'Now You See Me' magic series'. But here yet again this 'Natural Born Killer' shows us he is a 'True Detective', whether 'Triple 9' call or 'Rampart' corruption. Even balding under the 'No Country For Old Men' cameo stetson that had you moving your feet, Woody still balls like Billy Hoyle. It's not a case of 'The People vs Larry Flynt' but the billboards versus Chief Willoughby. And after proving he was the best human actor alongside Andy Serkis' motion captured white dots to the 'War For The Planet Of The Apes' conclusion to Ceasar's trilogy, cut-throat razor shaving his dome, Woody is a cut above all that here in his sharpest slice yet. But just wait until 'Psychopath' Rockwell rocks too, shooting for the moon and whoever's willing to stand up to him and call him a racist pig like we all see it. How the man who can play both slick ('Iron Man 2') and sick ('The Green Mile') can mine likes out of such a morally abhorrent character is unbelievably almost akin to how some of these f### boys can do so on social media. But despite the douches and fake celebrities that bag up the real world, this here is a testament to this great actors real reputation for versatility that he has hard worked earned in a Hollywood that needs its sleeves rolled all the way up. Still, no one plays disgustingly distinguished quite like this big I am Sam. And if he doesn't get at least a nomination for his repugnant cop you can only hope sees redemption policing, than the Academy needs to look past the crass character and view the class act behind those red and dead eye hiding aviators.

Third Billboard: "How Come Chief Willoughy"? That's what everyone is picket punching asking by the sign in this role call, All-Star cast of role playing character actors on their collective career highs. As Martin makes his mark by bringing the best and worst out of everyone in this harrowing yet heartfelt, guffawed but grotesque picture of duality...as such is life. What more can you expect when the skinny on 'Winter's Bone' standout John Hawkes who is practically in every other film you've ever seen (don't believe us trapse Wikipedia) is at his best and worst here as an ex, expected to be atypical, but with some other reaffirming traits too. Then there's 'Manchester By The Sea' supporting player Lucas Hedges who never got the same from the Academy like Affleck, but hopefully will with 'Lady Bird' or with a stones throw here. The kids the future like former 'First Class', X-Men academy actor Caleb Landry Jones who owned his moments in last years horror favourite 'Get Out' and Tom Cruise 'American Made' movie, but is close to his own one now after never being better than right here, right now. Then there's 'X-Men: Apocalypse' and of course 'In Bruges' actor Zeljko Ivanek known for 'Damages' and 'Madame Secretary', showing great and recognisable character, copping a duty behind the desk. With new, smooth rolling detective in town Clarke Peters bringing his 'Person Of Interest' and 'The Wire' credits behind his badge, along with the velvet voice to rival Morgan Freeman's beautiful baritone. Even Bradley Cooper's 'Limitless' love interest and co-star Abbie Cornish is here to show the cast is exactly that like the Australian actresses accented range. And how about Mr. Lannister himself? As 'Game Of Thrones' standout Peter Dinklage may look like a mix of his characters from 'Elf' and 'X-Men: Days Of Future' past here, but he really brings some of the best and brightest moments too in a dinner date and drink after worth of screen time. There really is so much going on here in McDonagh's movie that will leave you crying with laughter and horror. But in a contrasting, heads and tails movie there is one fact that leaves no sides for debate. This leaves everything else out right now outside. Aside from a C.G.I. deer that still makes for a dearly beautiful scene this thing is flawless. And has the most beautiful use of the "C U Next Tuesday" word this side of the blades of Margot Robbie's 'I, Tonya' glory. 'Three Billboards Outside, Ebbing Missouri'...now that's a lot to read. Especially over three advertising hoardings. But by the 'Moonlight' of mid-February in 'La La Land' you'll be damn sure it'll be wrote in an envelope sealed, 'Best Picture'. TIM DAVID HARVEY.

Further Filming: 'Fargo', 'In Bruges', 'Rampart'.

REVIEW: HOSTILES

4.5/5

3:10 To Hostile Territory.

135 Mins. Starring: Christian Bale, Rosamund Pike, Wes Studi, Jesse Plemons, Rory Cochrane, Timothee Chalamet, Jonathan Majors, Adam Beach, Q'orianker Kilcher, Paul Anderson, Bill Camp, Stephen Lang, Ryan Bingham & Ben Foster. Director: Scott Cooper.

Truer grit has barely been ground through tobacco spitting teeth. Now you'd be 'Unforgiven' for thinking they don't make good, bad and ugly westerns like Clint Eastwood used to anymore. Because for all your Rio's and 'Magnificent Seven's' there is still a fistful of modern day more. And we aren't talking about the neo genre of todays classics like 'No Country For Old Men', 'Cold In July', 'Hell Or High Water' and dare we say it even the latest Hugh Jackman, Wolverine 'Logan' movie. Did we forget the Cohen's even greater remake of John Wayne's 'True Grit' now? Take 'Tombstone' Kurt Russell's ultraviolent 'Bone Tomahawk' for ball breaking example. Perhaps one of the genres greatest now or then. How about old man Tommy Lee Jones starred and directed 'The Homesman' that really brings it all back to your front door? Or even Fassbender's 'Slow West' wild ride with a fellow Nightcrawling X-Men. Even the 'Dark Knight' himself Christian Bale, despite all the billions Batman's Bruce Wayne brought is no stranger to the spurs in dust genre. Remaking the classic '3:10 To Yuma' into another one as he tried to get a murderous Russell Crowe on a last train deadlier than the Orient Express. But now reuniting with his 'Out Of The Furnace' director Scott Cooper (who gave us the acoustic, cowboy, 'Crazy Heart' of Jeff Bridges and the modern wild west of Johnny Depp's 'Black Mass' gangster) and going straight into the fire of racial and land ownership politics still rife and rampant today like wildfire, Bale drops a haymaker for not only his best western, but all round movie yet. 'American Psycho', 'The Machinist', or last years utterly criminally underrated 'The Promise' with 'Doctor Zhivago' prescribed love triangle, Oscar Isaac and Charlotte La Bon. Keeping the memory of the Armenian genocide and those of their people that survived, alive. And now as Christian's faithful general in Costner costume dances with all sorts of wolves, the oldest American genre in movie making history is drawn to a 'Hostiles' takeover.

Bale brings forth a formidable Captain character based on late 'Missing' and Tom Clancy 'Jack Ryan' series screenwriter Donald E. Stewart's unpublished, maverick manuscript. Directed straight arrow perfectly by old 'Furnace' friend Cooper, Christian's character plays not only reluctant hero, but reluctant retiree seemingly unwilling to learn from everyones previous mistakes, aswell his own, or this late in life. Especially with one last job no man in his position wants to do. Especially even one so war raw fuelled with flammable hatred, captured behind the trademark long beard of Bale's hidden mouth and strained veins of a road weary warrior with at least one or two good fights left in him. In the name of the law, but not the lord he still somehow flickers belief in, although he'd rather flick through Caesar than the Bible, Bale's born soldier is old testament slaughtering Native American's he like so many others at the time call savages, all on their own land. So you can imagine his reservation in being detailed with transporting one across the plains. Especially one who personally is his sworn enemy, responsible for as cutting as many heads (and ingloriously like a bastard, scalps) as he is...but one who has taken the hearts of men he calls friend...if not family. Bale at his brutally bold and at times blisteringly beautiful best gives this all the grit and spit he's got, no polish. The only sheen that resides here is beyond the pride of his uniforms badge, but down to the corrupted core of a man that has a lot more heart than his soulless killing suggests. A leather and chaps cauldron of repressed anger and restrained goodness simmering, the passion of Christian lip bit and lump throated is so powerfully pure. All the way down to the silent screams and the tears that come spilling out from every place a leak can spring, that this is his most puncuated project yet. Forget the words he doesn't say, but when he's wise or comforting to it boy do they count. Like '3:10' what you read on this mans face when it barely even looks like he's registering an emotion tells so much more, giving light of day to finishing E. Stewart's stellar, moving manuscript. They say the eyes are the soul and as you see Christian Bale's through his piercing ones you can barely look away.

On the road he picks up 'Gone Girl' Rosamund Pike. And she really is this time, having just witnessed her whole family slaughtered by real savages burning her house to the ground in the first five minutes of this movie that will leave you 'Tomahawk' shell shocked and raw for revenge. Widowed, homeless and childless, Pike left still holding her baby amongst the charred wall remains of her home brings real post traumatic pain to the forefront of her tour de force performance. Christian is movingly sympathetic and kind to her, opening up a well of grace and humility thought forgotten amongst all the discriminate evil, but Rosamund's Rosalie is the real revelation. Showing all emotion from the sleeve to her bleeding, broken heart in the ground, pleading to our every sense of humanity. One scene shovel struggling to bury her entire family alone won't just leave you in tears, but with both your mouth and your guard down. There's no physical look to describe this type of pain, until Pike spikes us with it and leaves it eating at us inside. If Christian doesn't make it to the Academy, at least give Rosamund a nomination in a late run worthy for the Oscars like 'All The Money In The World', 'Three Billboards Outside Ebbing Missouri' and Speilberg, Streep and Hanks' 'The Post'. As a matter of fact Cooper's whole cast is ready for acclaim. Just like the welcome return of 'Last Of The Mohicans', 'Dances With Wolves' and 'Heat' legend Wes Studi, a study of measured brilliance and soulful greatness. Flanked by his family of ever underrated 'Cowboys and Aliens' and 'Suicide Squad' star Adam Beach who first made his name bringing power to his people in 'Flags For Our Fathers' and 'New World's' Pocahontas' Q'orianker Kilcher as a powerful Elk woman. Bale's boys helping him on the trails transportaion (Cooper's 'Black Mass' character actor, Jesse Plemons, bearded 'Argo' actor Rory Cochrane, 'Interstellar' ready for Oscar to 'Call Me By Your Name', Timothee Chalamet, star of this instant Jonathan Majors, 'Peaky Blinders' and 'Sherlock Holmes-A Game Of Shadows' gun for hire Paul Anderson and even singer/songwriter Ryan Bingham giving us a 'Rio Brave' like campire song break), are all nothing short of absolutely brilliant in what they say and on their conflicted faces don't speak. Even familiar face veterans like Bale's 'Public Enemies' co-star and 'Avatar' star Stephen Lang and 'Lawless' character actor Bill Camp (even better here than how good he is at the table of 'Molly's Game' right now) set up shop in cameo form. And as if that wasn't enough, come 'Hell Or High Water', 'Yuma' co-star Ben Foster shows up halfway through to add another outlaw wildcard to this territory traversing mix as maddingley brilliant as Ben always is. But as grandiose and great as this indie film looks, from the Hollywood who's who cast to the cinematic canvas of this great American land as timeless as the gunfights here that feel as vintage as they do modern day set-piece made and orchestrated, there's a moral message here that shoots right for your direct center. One that proves to us no matter our race, creed or social stature we all lay claim to this land one day we'll all belong under. So simply we better get along whilst the gettings still good before we all get got. Because behind every colour of skin and shade of eyes is a yearning soul and heart that beats the same. And this has so much of both in equal moving measure. The race for the best film of the year has already begun out the gates of 2018. With, without flaw one of the greatest westerns of our time. TIM DAVID HARVEY.

Further Filming: '3:10 To Yuma', 'The Homesman', 'Bone Tomahawk'.

REVIEW: THE GREATEST SHOWMAN

4/5

The Show Must Lo-Gan.

105 Mins. Starring: Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, Keala Settle, Charles Stratton & Zendaya. Director: Michael Gracey.

There's no business like the man that invented show business. And who better to play this kind of entertainment entrepreneur than Hugh Jackman? Retracting his old man 'Logan', growling Wolverine claws, this ex X-Men plays the man who had the big top mind to coin the circus and all the attractions in it, P.T. Barnum with his certain joie de vivre. One of Hollywood's leading lights of showmanship in this city of stars, all the way from down under really is 'The Greatest Showman'. He's already shown us 'The Prestige' of magic and sang from stage to screen in the Academy of Oscars thrown like roses at the epic, iconic 'Les Miserables' awarded adaptation. The 'Australia' actor who made the real superhero jump a downhill wow factor in last years epic and emotional 'Eddie The Eagle', is really reaching a new personal best like his deepest, darkest and last movie of real adamantium steel yet this last year just gone. One neo-western, genre great that could make it all the way to awards season, like the arresting 'Prisoners', or this one for a man who once hosted his own version of the all singing and dancing with Beyonce Oscars. There is no one better in this industry in ever need of his infectious inspiration to play P.T. to a tee. This bub is a classically trained man of theatre bud. All you need to do is take a stream of consciousness down his Springsteen stripped-down, one man and two woman, fisherman play 'The River' of a few years back that held stage in a side street off midtown Manhattan to see this man has the raw potential, not to mention the ready made power to bring the greatest show to the greatest city in the world, New York in  a matrimony marriage of magic. One of Barnum's most famous quotes reads, "fortune favors the brave, and never helps a man who does not help himself". But you best believe in Hugh who shows us on this cinematic stage the show must go like Shakespeare said.

Ringleading a firey hoopla of lions, elephants and men hairier than bears (oh my!), Jackman's ringmaster is the top hat and tails that tell, all the way down to how he clutches at his ringmasters cane with puncuated purpose. The moment the old, vintage 20th Century Fox logo slideshow stutters into todays iconic classic logo, the music shifts from a tale as old as the flashbulb photography of 1835 at the tender age of 25 to modern music of these millennials's Spotify playlists. And the almost 50 year old Jackman who can play forever young like his engrossing enthusiasm or his ability to jack himself up to play the mutant wolfman doesn't miss a beat or single octave. Stepping with an astute flair of Astaire, whether hip-hop or old showtunes note perfect. This dynamo of a directorial debut from fellow Aussie and visual artist of 'Ned Kelly' and 'The Magician' Michael Gracey really shoots for what you can see from the Hollywood hills grace of the Griffith Observatory. And even those 'City Of Stars' songwriting geniuses behind Ryan Gosling and Emma Stone's 'La La Land' that won almost every Oscar except the last envelope get to 'Rewrite The Stars' here in some cinematic numbers that are still cool enough to aux rock on your next road trip. Circus coloured like a Baz Lurhman moxie mix of 'Moulin Rogue' and 'Great Gatsby' gold slick and with water for C.G.I elephants showing well and truly no animals were harmed in the making of this movie like they never should be, this movie is bold, beautiful and bat crazy. Borrowing costume and cinematically from Hugh's who who of 'Prestige' and 'Miserables', but without a hint of misery in this esteemed piece of entertainment eminence...which is exactly the resolution we need in the New Year post-Christmas blues of a cold January. Pure joy, unadulterated. From the grubby, foggy town bread stealing beginnings that heartbreakingly tells us "this isn't the life I promised you...not even close", to the fruits of his labor of and for love that lead to new homes, food on the table for his family everynight and a supremely tailored suit our leading man changes like we do our socks. The jack of all trades Jackman can do it all, especially as the no for an answer dreamer with a recipe for reality born in Barnum. And just wait until this handsome and heartfelt man of honor really sings. Forget an award nomination. This man deserves his own category. One signed and sealed, showstopper thanks to this dynamite delivery.

Hold your applause however. Because this pack is more than it's Wolverine leader as the show will never go on without something to see. And there really are some sights to behold here, tightrope to trapeze in some classic chereography to rival the French fancy of the Cirque de Soleil. So much so if the pyrotechnics can pull it off like the stage hands here, this candy coated American dream should see the wicked stage in real life in the 'Jersey Boys' and 'Chicago' electric Times Square of N.Y.C. itself, starring Showman Jackman for an epic, extended run. Because this movie moving the millions has the numbers to do it from songs that beat and pick you up, pinning your dreams hammer and nail. One shot for shot slide across the bar, drinking game dance stumble you never want to call last orders on, even when you get your coat rivals the stepped up sailor Jerry 'No Dames' tap-dance of Channing Tatum in the Cohen's 'Hail Caesar'. And who else to partner up with Jackman in a showcase like this than 'High School Musical' generational great Zac Efron? A slam-dunk of a cast, forever embalmed in forever 21 youth, despite reaching his thirties and new heights in this years hilarious 'Baywatch' save and the good 'Neighbors' franchise that is even borrow a cup of sugar bold enough to wake up zombies in the next installment of their trilogy making franchise. The effervescent Efron has barely been better and the man who can play serious, seriously good ('The Paperboy'/'Parkland'), but still have fun mixes both here for a moral message behind the curtain of all that magic. He falls hard for Marvel's 'Homecoming' Spider-Man's M.J. crush Zendaya like the rest of Hollywood have. And here the young actress of the future and right about now shows exactly why she can go by one name already like Destiny's Child. They make a stand for race relations and relationships with anyone your heart falls for in a movie that features 'Manchester By The Sea' Academy actress Michelle Williams as a wonderful woman, wife and moving mother and 'Life' and new 'Mission Impossible' franchise star Rebecca Ferguson, formidable as a singing starlet and sensation Barnum wants to have to bring his show to a whole new stage...as if meeting the Queen at Buckingham Palace wasn't the crown jewel. But for all the all-stars holding stage here the real wonders of the show are the extraordinary people P.T. wanted the world to see in all their unique individuality and quirks. From bearded ladies and teen wolfs to the tallest and heaviest men in the world. As Jackman's Barnum makes star attractions of those others in ignorance and hate call "freaks". Showing that the only unusual thing about being different than everyone else is the courage and one of a kind power it takes to be your very own person, true to self in a freakish world always trying to change what's good and right because it doesn't have the bravery to be it itself. And that's an idea that will stay with you long after the curtain closes on this piece of classic cinema. Whether you're someone who has suffered the same bullied belligerence hiding in the shadows of shyness and silence until now (and if you ever doubt yourself or your dream this New Year remember they used to throw fruit and bottles at Prince of all people when he used to perform on stage...Prince?!). Or whether you are exactly the someone who has denied these people just like you their voice and their right to be heard. Well here...they are given all the worlds stage. And bursting through the miserable barricades this is why the real stars of the show are the beautiful Keala Settle, commanding Charles Stratton and all the people they really represent with no apologies except the ones we owe them. You see them now?! This is you. This is me. This is us. TIM DAVID HARVEY.

Further Filming: 'La La Land', 'The Prestige', 'Les Miserables'.