THEATRE REVIEW: AMERICAN SON @ The Booth Theatre

4/5

American Nightmare.

Starring: Kerry Washington, Steven Pasquale, Jeremy Jordan & Eugene Lee. Director: Kenny Leon.

Sheets of rain cascade down like a forewarning of things to come. Even the Sunshine State of Florida is used to taking weather like this with them. The downpour usually lasts less than a minute, or the time it takes you to tweet about how crazy that is. And then the sun puts his hat on again and those soaked to the bone clothes of yours act like they've just been put in a tumble driver, no iron. But there's something different about the weather tonight. It just won't stop apart from breaks of inspired intermission, or thunder and lightning for punctuated dramatic effect. There's a storm coming. And as the curtain slowly, ominously rises in the beautiful Booth Theatre we are met by 'Scandal' and 'Django Unchained' star Kerry Washington sat, forlorn but focussed in a mesmerizing, makeshift police station...all the way down to the coffee table and donuts. She's staring and boring holes in the front row. Many of us lucky enough to sit there and get a real, close up feel of this drama think she's looking at us each individually. We want to keep our gaze, but our nerve and risk of making her feel uncomfortable, or put her off won't allow us too. As if we could! Because she's not looking at us. Or the nice guy next to you from Orlando you just met, or the lady and her daughter on your otherside. She's not starring right through us either however. She's just in the zone. Starring into the void. And THAT is true theatre. This writer was still weary from realising the time he takes a trip to New York is the one week his hero The Boss takes a break off his 'Springsteen On Broadway' show (such my luck. But with the cheapest seats going at seven and a half grand (pianos) from all those second sellers who apparently couldn't make it, I wouldn't have been able to anyway. Such is life). But when he scores a last minute 40 dollar rush ticket for a front row seat to one of the most powerful plays he's ever seen. Then (Spring what?!) he doesn't want to see the sun come up on the Broadway reign of 'American Son'.

Critically compelling. This play concerns Washington's American son, a missing person that finds herself in the middle of a police station in the heat of the night. Burning with urgency and more questions than the Spanish Inquisition. Is he safe? Is he hurt? What happened? Has he been a victim of a crime? Are they treating him as a suspect? Are they even looking for him right now? Those questions and more cross our minds with fury, so you can only imagine how Kerry's character feels. What she's thinking and asking. The police in this play right now are about as cooperative as a wet behind the ears rookie about to do the Dunkin' run. And all she wants is answers and to find her boy. And then just when you thought it couldn't come down any more, her estranged husband arrives on the scene. And all proverbial hell under the states sun breaks loose for a mother's mounting terror of concern held behind bars, in police contempt. This play is the world we live in right now personified in this all too real and all too human story which shows us humanity on all sides, no matter the bias, bigamy or bigotry. Each character has a core and it's going to be rocked until it's nothing by the final curtain. We need plays like this to be seen right now more than ever with the power of the 'Black Lives Matter' movement in full effect. Or men like the President trying to trump all that and build a wall up against it all. This profound play and it's dynamite dialogue is insightful and incendiary. There is nothing staged here. This is as real as it gets. Showing just how much a young, black individual's life or a womans worth in kind and who they really are means to a racist and discriminatory badge and gun. In a public service duty that is supposed to uphold that very justice and equality. But we all know in some precients really doesn't. Let alone that courtesy and professionalism that are as missing here as the respect. Lucky for us this show that shows up all that needs to be shot with a camera phone in for the record, record has exactly that, all due. More than a cautionary tale, 'American Son' is a critical juncture, generational story and sign of our times that will hopefully inspire the next.

Washington most famous for her political fixer from Washington D.C. reaches new heights and could take this to the capital in an exclamation of a powerhouse performance, in this black versus blue, mother versus system, nuanced narrative of power and who holds it when everything is slipping through our fingers. Inhibiting this part perfectly, she exhibits every evoking emotion. Yet displays great grace, poise and courage under fire. A glimmer of truth in all this diminishing light, the 'Ray' actress who grew up in New York, starring in shows with Jenny from the block, herself Miss Lopez of the Bronx has found her way home. And it may find her next to Tony for an actress who one day will gun for an Academy Award too. It's real and raw roles of punctuated performance like this (the greatest this theatre has seen since 'A Star Is Born' all singing superstar Bradley Cooper went in the Broadway and then West End direction of paying proper tribute and testament to 'The Elephant Man'. So much so that the 'American Sniper' should target his own big screen version, with all due respect to Charlie Heaton of 'Stranger Things' take) that really in real and true acting show naked emotionally just what these Hollywood actors are really made of. And Washington is made of the things of legends. With a new theatre run that will release many remakes and hopefully series or cinema serials long after she's taken her final bouquet and bow. But it all begins with her. And a class in itself cast. Like theatre beat vet and 'The People Vs OJ Simpson' star Steven Pasquale in powering, defence won't rest form. His last words by the curtain having powerful poignancy in blink and you miss it hidden messages and meaning to the real world, right now. Whilst 'Supergirl' star Jeremy Jordan's young, inexperienced, but old in his learned ignorant ways is right on the money even if his character is more than a few dollars and sense short. And then there's the veteran great of many an August Wilson classic, Eugene Lee in this 'Fences' fenced in one location stage set boiling pot as an old chief stuck in his ways he thinks are right. Unbelievable. It's rousing stuff that will keep you in its ravaging rapture. And anytime for relief if it's funny. It's satirically, scathingly, searingly so. Dont laugh. Gasp! All this is born from the definitive Kenny Leon directed and Jada Pinkett-Smith (who also produced 'The Karate Kid' for her son Jaden with Will) and power couple Gabrielle Union (of 'Bad Boys II'. Breaking in on a spin-off for her character with Jessica Alba as Will Smith and Martin Lawrence finally go for the three-peat) and Dwyane Wade (in his last, legendary season as the all-time franchise figure of the Miami Heat) produced plays script to stage run that carried on through. Sure there's a revolutionary in more ways than the giant marionette puppet production of 'King Kong' down the road in the Empire State, but it ain't got s### on this. This that is the most raw and best since great Brits Sienna Miller and Jack O'Connell took Williams' 'Cat On A Hot Tin Roof' to the tops of London last year. And hopefully the sun won't go down on this 'American' and it's lesson. Hopefully this 'Son' will last as decades long as a Tennessee titan. We hope as much as that many years from now it's subject matter, be no longer one of real world relevance. But if one day we can't live in peace, at least we'll find it on stage in theatre before we leave the auditorium. 'American Son', American daughter. This one's for all of you. TIM DAVID HARVEY.

REVIEW: CREED II

4/5

Float Like A Rocky. Sting Like A Creed.

130 Mins. Starring: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Wood Harris, Russell Hornsby, Florian Munteanu & Dolph Lundgren. Director: Steven Caple Jr.

Seconds out. "I'm gonna stop this thing" resigns a retired Rocky. "NO"! Creed desperately demands in reply. "I should have stopped this fight with your father. I'm stopping this one now". "Don't, okay?! Let me finish! I gotta prove it"! "Prove what"!? "That I ain't a mistake". And with that moment of realisation in the 40 years and tears of Sly stone Stallone's eyes, that lump in our collective throats turned to full blown, auditorium cries. If the trainer finger tapping the back of Don's head in unison with the doc covering his good pupil and asking how many fingers he's holding up in front of his onion like, closed up like stores on the 22nd of November eye hadn't already. Not to mention an inaudible screaming and hollering (but we can make out Adonis repeatedly saying, "let's go Rock! For you!"), middle of a smoke circle of rubber burning, dirt bike, shadowboxing training montage that in such emotionally charged moments like this made that movie a classic and could even inspire the biggest couch potato to look for their gym membership between the cushions like the remote. And then Stallone, firmly now in Michael B. Jordan's Adonis-in name and frame-corner gives us that Academy Award bid of an Oscar speech about never having the chance to thank his father Apollo, but how that doesn't compare to what Donny has done and how he's going to fight cancer if he fights too and knocks that son of a (excuse my language) b#### down (Rocky delivers it much better than me). To which the young pugilist, son of a legend, pulling no punches in hitting his own legacy, forget the sins of the father replies in retort, rhetoric kind. To which Stallone's Rock Balboa knows it to be true. Why?! Because "you're a Creed. And I love you kid". Sly adds so much emotional gravel with those last few words that it drives the iconic Rocky theme finally on PA full blast as Adonis Creed comes out swinging like Babe Ruth. And it's nothing but waterworks for not a dry eye in the house. Grown men acting "wanna fight" tough and all. Dates who may have never even seen a 'Rocky'. As more than an eternal flame burning, forty year plus torch was passed for the most iconic, sort of fictional (see Liev Schrieber's beautiful 'The Bleeder' and its perfect, meta Stallone impersonation with inspired, homaged respect) sportsman of all-time (sorry 'Air Bud'). This is the Creed generation now as he lost the battle, but won the war of the first film too like his powerhouse of a predecessor. That's what made that climb up those steps in Philly with the actual Rocky statue they fittingly use so much more poignant and jump for joy sweetly, but oh so now subtly powerful. And all these spine shivers, coming after a film as brutual and beautifully nuanced in its narrative in and out the ring as writing inspiration 'The Ringer's' Shea Serrano's signature piece on all of this. And the critical scene where a sledgehammer haymaker from Pretty Ricky Conlan in the middle of Everton football clubs Goodison Park puts Adonis on the canvas and what looks like a coma. As mother, lover and trainer and friend all scream at him to "GET UP", until he catches a heart paddles resuscitating breath and gets up like a man possessed and to Conlan's confused and respect earned disbelief after seeing visions of his heart, his soul, his corner...and his father.

Apollo Creed, a classic Carl Weathers character so charismatic he birthed his own franchise of son sorts. Rocky's rival turned friend and then trained (cue the slow-mo, short, shorts, beach run embrace...say what you will it's a nice moment) until the fateful fight. Where mother Russia (we can't say f#####) Dolph Lundgren's iconic villain Ivan Drago knocked him out dead in the ring. But this is more than the callous shrug, "if he dies, he dies". The son avenging the father is a heavyweight now and on his way to the belt he has an old score to settle before the bell, toe-to-toe, fist-to-fury. Drago has a son off the ropes too. And the man mountain-played with chiesel and gristle by ready to floor you Florian Munteanu-that makes Adonis' last big bully of an opponent look like Vin Diesel when he's pebble put up against The Rock actually looks like he could kill Creed too. Smell me? The s### as they say has just got real. Cooking up one hell for cliche to pay script that is a whole new Southpaw in a 'Bleed For This' bloated but bravado boxing genre. We used to say in the Stallone Vs Schwarzenegger debate, the Stallion wins handedly. As he knows how to write and work this stuff too. He's a master of his big bluster, action hero game. From the early 'Rambo' days with soul to the heart of his ageing, 'Expendable' franchise of old hands. We used to say sure he's no Shakespeare. But damn if this father and son, dramatic tragedy plot isn't something straight out of the 'bards playbook, punctuated perfectly with pumping iron power. I mean come on this is a family franchise of IV's (and we ain't talking about the ones in their arms) with names like Apollo and Adonis for crying out loud. And Michael B. Jordan really makes his name his own here like it's always been. It's not just his lights, camera, action perfect physique that is gruelling sculptured here, but his acting psychology too. After he and directing partner Ryan Coogler (missed here. Although Steven Caple Jr. is more than capable he's hallmark homages here, 'Creed' to 'Rocky'. And the as real as ESPN build-up and fight sequences) went from the inspired in the incendiary indie of the all too real, 'Fruitvale Station' to the mainstream, Don King box office budgets of the first 'Creed', the two marvels went on to change the superhero game to begin this year that Michael makes his with this bookend. 'Black Panther' was truly a revolution as the smartest scientist and superhero in the late, great Stan Lee's canon of characters didn't just give us the best superhero movie of the year and the best M.C.U. one not named 'Winter Soldier'. It also invented its own Academy category (you really think 'Infinity War' is going to win the Oscar? We snap fingers think not!). Jordan owning 'Black Panther' to his suit and throne as Killmonger also rewrote the rules of villainy too. Giving us the best Marvel bad guy since the one and only, God Loki. And the best superhero bad guy in all since Heath Ledger's Joker. Let alone the greatest one we actually sympathize with and more than root for, feel has a point. Sorry Thanos! Even more than you....wait! What are you doing with your fingers? How about Erik Killmonger's last words. That's as deep and as poetic as the comic-books of Marvel movies have got.  No wonder this grown man has the 'Bullitt' and 'Bond' like balls to follow legends like Steve McQueen and Pierce Brosnan in his own rebooted 'Thomas Crown Affair's heist flick. M.J. is a steal and legacy making his own 'I Am Legend' like Will Smith. And here he's more than a champ. He's a true fighter rope to belt. Whether the gloves are on or off. Evoking every emotion and hitting back with the weight of the world behind his heavy bag bodying punch. You really didn't think he had hands like that? We got to hand it to you. Butterfly to bee, B is the truth. Floating and stinging. We haven't seen a modern boxing film this good since the Fresh Prince's 'Ali'. And now like Tyson, Jordan is feeling himself, fooling around and thinking he can beat Roy Jones Jr. But dont think he's just chasing chickens. He has a coop. Shadowboxing underwater like the greatest this is your king now. A Hollywood heavyweight. Mama said knock you out.

Legends live forever. But you need more in your corner than a name. You need heart too kid. And Apollo's rock, the Adrian to his Rocky is Bianca. And the terrific Tessa Thompson's career has followed the same matrimony trajectory like Mike's. She precursed her silver screen career with small screen work on 'Veronica Mars' to Jordan's 'Wire' (speaking of which his co-star and mentor from 'The Wire' Wood Harris is back with more than a ringside seat as he's fought his way to the ropes). She's and indie darling with her 'Sorry To Bother You' to Mike's 'Fruitvale'. And like the Marvel game changer 'Black Panther', she played the first bisexual Marvel movie hero in Valkyrie in 'Thor-Ragnarok'. Reunions are on the cards and black suits with Chris Hemsworth for 'Men In Black'. Her own future reboot series like 'Thomas Crown'. But here is where this woman's worth is on full display in working towards a complex and conflicted character who never wavers in how straight-forward she is for her heart and who it beats for. As she'll beat anything that tries to stop that. Like the losing of her hearing and the impossible to ignore implications of all that. But oh how she sings in the face of everything like an icon who refuses to let the spotlight burn out. If you were a Spotify search fan of how Thompson stole the stage and show with her intro song on 'Creed' than you'll be pleased to know you ain't heard nothing yet. The amazing 'Annihilation' actress is far from done too. This is only just the beautiful beginning like her on screen relationship and partnership with Jordan we "goals" revered the moment Mike helped her with her braids. There's so much here in this family story. From the moving mothering of 'Cosby Show' family favourite Phylicia Rashad with an edge like her 'Empire' character...but thankfully not that sharp. Even 'The Hate U Give' and fine 'Fences' actor Russell Hornsby is here greasing the wheels of his burgeoning highlight career like his character does his Don King wannabe one. But it's the return of another 90's action hero great, Dolph Lundgren and iconic character that's the real big draw. As the 'Universal Soldier' has turned private and is running a boot-camp for the army artillery of his sons left and right weapons. The Swedish actor about to go fish with the new 'Aquaman' plays a worn and weary weathered, fallen champ perfectly. But it's plain to see in those eyes there's still a fight in him, even if he's willing to let someone else do that kind of talking for him (heavy is the head for his young son who would be king). His first raw decades in the making reunion with Rocky at Adrian's is as influential as the pictures on the wall first meeting between Rocky and Creed from the first 'Creed' movie. Just in very, VERY different ways. Yet the reunion between Stallone and Lundgren as actors is nothing but smiles, legend and love. And then of course there's Rocky himself. The one and only Stallone, who may take a stool backseat step back here, but is still an influential as the DNA of the original series that still run through the veins of the young fighter. His pre-fight speeches still so motivational. His graveyard counsels forever moving. And he even combed his hair for this one. And in this one you can see why he classically cameoed for 'This Is Us' too as himself. Hearing him Marlon mumble over American muscle as he drives Donny to a training montage, 'Mad Max' session in the sand of Mexico is as vintage and classic as the car itself. We just hope he'll be bouncing that ball and wearing that fedora like the icon this legend is and will always be forever. Let's hope this franchise reboot 'Creed' series sequel of the 'Rocky' legacy makes it to the later rounds of classic Roman numerals. Like the billboard posters across from the Mecca of the "World's Most Famous Arena", Madison Square Garden, scaling the "King Kong ain't got s### on me" Empire State Building in New York City say in Macy Day parade unity this Thanksgiving (Happy Holidays to you and yours), 'Family. Legacy...Destiny'. And it all starts with this K.O. Because afterall, if he wins...he WINS! TIM DAVID HARVEY.

Further Filming: 'Rocky IV', 'Southpaw', 'Bleed For This'.

THEATRE REVIEW: John Leguizamo-LATIN HISTORY FOR MORONS

4/5

A One-Man Show For Dummies.

Montague and Capulet gangs clash straight outside a Los Angeles gas station. It ain't all love like Romeo and the one who asked him, "where art thou"?! Petroleum passion fuels their fire. Words are exchanged. Thumbs are bit. Guns are drawn. People run to their cars, the nozzles still in the fuel caps. And then the finest pair of shoes you've ever hoped to at least try on comes out the signature ringing station door and then it all goes quiet. The only sound is the swept cruch of his heel putting out the smoke from his discarded cigarette. John Leguizamo silences them all. With his talk of hating things like peace...and thee. And then he reaches inside his blazer jacket and it looks like it's all over. But it's only just begun baby. He shoots, spins, ducks, dives. Flys?! And then he pulls off his jacket and throws it away in a fast cutting Baz Lurhman trick of the trade, technique instant. As he pauses to kiss the Virgin Mary on the holster of his sidearm with passion. It's pure poetry amongst all the anarchy. Why are we saying this right now? Our Tybalt tribute to 90's classic 'Romeo + Juliet' and the veteran actor and one of the hardest doing so in Hollywood, who even stole this Shakespeare show from Leo DiCaprio. A man who reunited with Baz in Paris for 'Moluin Rouge' and has starred in every other film you've seen. From 'Carlito's Way' to 'The Infiltrator'. From 'John Wick' to 'To Wong Foo, Thanks For Everything'. 'Ice Age' to...erm 'Super Mario Bros'. We're saying this in short because the legend Leguizamo is well, in a turn of phrase...cool as f###!

Lurhman's lasting legacy of Bard rewrote legend set in the modern day was a metaphor for more substance behind all that oil slick style. Like the use of guns instead of swords as they bare arms. It wasn't for gratutious purposes, but pointed ones. And the Montague and Capulet families? Notice we used the word "gangs"?! Like Shakespeare's original scribes playing to the class conflicts in society, Baz brought the issue of cultural divides back to the forefront of our multiplying consciousness. Like more so today in a Twitter trend of turning the tide of social commentary and turning white privlege in on itself. From the 'Oscars So White's protest to the critically important 'Black Lives Matter' movement. A time today where we are still searching and striving for equality. Saying 'Times Up' to those who harass or abuse and giving victims who say 'Me Too' a voice. For all the stands people have made against discrimination and racism however. And for all the celebration of culture we finally get at black-tie affairs like the Oscars. It still needs to be as real as all the glittery speeches and Twitter toasts once the cameras and cell phone illuminated screens are shut off. And there are still communities and cultures not feeling the love, or embrace of equality. Like Asians (praise the lord for BTS). Or Latinos. Or we could go on. But perhaps it's time we all did. And now one of the all-time, still ever so underrated greats of stage and screen, from Broadway to Hollywood, John Leguizamo is taking us to school. Following his countless books, not to forget movies and showstopping one man shows in play (like his 'Ghetto Klown' classic this writer was fortunate to catch off the West End on a chance trip to London some half decade back), dear John is back and anti-hallmark as devoted as ever. Fuelling his passion project into the spotlight of true theatre for the movie star. Which is now streaming for everyone to see and feel in close stage left camera work, for the new day entertainment giant Netflix who released a brand new Chris Pine movie the same morning (I know he shows his d### people, but you can watch 'Outlaw King' after this). Johnny's got that "and chill" money now baby. A class of his own is in session. Quiet infront.

And take notes because this is a damn education. Or as he really calls it 'Latin History For (F######) Morons'. Dressed in a tweed blazer ensemble that's a few elbow patches away from being something the late, great Robin Williams' professor character in 'Good Will Hunting' would be proud of, Leguizamo is really learning us a lesson. As he empathically chalks and claps away on the blackboard, stuff so satirically scathing it hits your raw nerve as well it should. Like when Whoopi ran her nails down one in that scratching 'Sister Act' movie moment that sang all the way to it's own Broadway production. Critically compelling and as creatively cluttered with facts and anecdotes, like the awesome aesthetic of the paper spilled filling cabinets and desks overturned with notebooks full to the margins, there is so much more to this in all its props. Sure like the man commanding the stage like he does every picture he is film framed in, this show is funny as...sorry we have to curse one more time to give you the real feeling...f###. But like anything this man does there's meaning behind it. Whether we get it or not. And like any stand up guy who knows comedy is all about tragedy too, he will make you laugh and cry. So long as you are really listening. But it's almost impossible to not be in the rapture of this man's attention like it's a mission to try and get people off their phones these days in stage. But when theirs heads are finally up to the front of class, than you know everyone is dialled in. Johnny Legz brings back his old school friends and family of characters stoties in inspired imitation and keeps that accented, voice-work going as he makes an influential impression Whether you'll end up offended, or taught heart behind the humour as intended like the show of Dave Chappelle. But wait until he takes on Trump, or any previous President who has either just as contributed by turning a blind eye, or actually played and been a part of the cultural genocide many try to ignorantly ignore with a bliss like it doesn't exist. Like those who tried to bury the beautiful Oscar Isaac movie 'The Promise' which shows the kept dedication of the Armenian people after their own genocide, world leaders still refuse to say to this day happened. There's so much to quote and take from this man and his show. Like his "books are my drug of choice" ode (word?!) as he takes us through all the text that shouldn't be rewrote in "real" schools and sanitized classrooms. Or something his "Buddy honey" son, seemingly smarter than us all said. "Violence is the lowest form of communication". Believe that. Now take that home with you. You've got work to do. Class dismissed. TIM DAVID HARVEY.

REVIEW: WILDLIFE

4/5

Wildfire.

105 Mins. Starring: Carey Mulligan, Jake Gyllenhaal, Ed Oxenbould & Bill Camp. Director: Paul Dano.

1960's, small town, Great Falls, Montana, USA. Numbing loneliness and punctuated pain run through this place and the house this family wishes they could call home like a raging wildfire through a forest they can only hope and pray a coming Winter sees soon. But is that snow or ash blowing in the wind? Because in this inferno of isolation the fiery flames of passion and anger can only be douse dealt with and not fully put all the way out. This is the nature of 'Wildlife' itself. A movie as amazing aesthetically as the love of Patrica Highsmith's 'Carol'. One whose four walls and players could act on stage as a play like Denzel Washington and Viola Davis' theatrical Tony award turned Oscar winning staged play, 'Fences'. As a matter of fact rotary dial the Academy from your kitchen phone this instant. As this 'Wildlife' may just make for the 'Best Picture' movie this year. Taking it all the way to the church of Paul Schrader and Ethan Hawke's spiritual 'Taxi Driver' sequel 'First Reformed'. Praise be. And it's thanks to a class cast featuring one third of the big-three, young best dramatic actresses of this generation with real evoking feeling, Carey Mulligan (the others being of course, 'The Handmaid's Tale's' Elizabeth Moss and 'Lady Bird' herself Saorise Ronan). The most legendary legacy by the day leading man not named DiCaprio in Jake Gyllenhaal. And a veteran character actor and child star both on the opposite ends of the spectrum, but still on the A game form of their old and young lives. 'There Will Be Blood's' Paul Dano (who is going against Steve McQueen (who he starred in for '12 Years A Slave') and his wowzer 'Widows' movie this week with Steve's 'Shame' star standout Mulligan) once played a young man who wished and thought he could write the dream love of his life into a real world existence with the novel adaptation of 'Ruby Sparks'. A critical character study on the emotional abuse of relationship manipulation and actually loving someone versus falling for the idea of who you want them to be. And Dano kind of did in a way rewrite his life's love. Meeting his future, real world wife, 'Ruby' herself, 'Big Sick' actress Zoe Kazan. And now the pair partner up and adapt Richard Ford's classic novel with a spark for the script of this production which gives Dano a definitive directorial debut in this independent, inspired indie. In a year of first time acting  filmmakers doing the Eastwood out of Hollywood, Dano hits the high notes like the all singing and guitar playing actor/director Bradley Cooper remaking classics for his own instant vintage, country strong stories. And now behind the camera another star is born. In this slow burning, atmospheric, cinematic classic.

Toxic masculinity and a search for our own individual identity amongst family and matrimony sandbags the stroke of a match lit love. Threatening to strike it down before it well and truly goes out. The great Gyllenhaal plays a former golf pro in the rough, but with dreams of Woods from his stunted, back nine iron-will. Now he's bunker reduced to polishing the shoes of his wealthy games elite clients. So much so he doesn't care that the knees of his Chino go to muddy s### as he works on the green like he once did for par. And swinging for the last time as his eagle becomes a mulligan he leaves Mulligan and the real life Mumford wife's son to fight fires with dollar an hour deadbeats. As he refuses to bag up groceries to provide some for his or tame the own flames in his life that has become a beer a night nursed, numb sobering truth of smoking on the porch at night and looking at the burnt orange twilight. Looking to hang his hat on an escape instead of his head, in an attempt to stop that quiet but relentless hum that calls him in unison. As the static from the tube of his television on the fritz, tuned into the news report almost metaphorically sounds like the burning forest fires themselves. Gyllenhaal at his nightcrawling, 'Stronger', 'Brokeback' best adds another classic to his cohesive catalogue. And saying more with what we read into his expression than he does with his regressed words. One poignant embrace of a moment were he hugs his son and gives him two strong, but resolutely somber pat's on the back before he jumps on the back of a truck and heads off to pickup a new life is truly telling. As Carey carries on without him and the smoke and smouldering mirrors he's left in this charred home. Spiralling and stirring a tonic mixer of cocktail dresses and napkin requested dates. One blood red jumper and lipstick moment of paranoia in the booth of an American diner over a bottle of classic Coke is a sea change moment. Precursed by her taking her son all the way out to the tree fuel bark and "standing dead" remains of the raging fires she sees her husband and his father deeming "more important" then them. There's beauty in the tragedy of this all coming to a head however. Like Mulligan tenderingly tucking a sheet into the comfortable corners of the couch her husband now takes as rough as an old coat for a pillow. And at a roadside, pulled over, pulled self together moment of a forced but still genuine smile breaking through real broken down emotion, the 'Suffragette' and 'Mudbound' marvel unafraid to get her hands dirty is also at her very best yet. A mesmerizing Mulligan is magnificent in this moment and movie. Blazing a trail for next year's 'Best Actress' bid with a powerhouse performance that is as perplexing as it is profound. Such is this life we live and lead.

Young but oxen strong Ed Oxenbould really comes of age here however in this maturing story that shows adulting and second childhoods all at the same time from parent to child and back again. The 'Paper Planes' actor is anything but that sheet thin as he really soars here. Being just as integral and important to this picture as Mulligan and Gyllenhaal if not for the sake of his and his characters future more so. The all too young to be wounded look in his eyes is offset by the recovery of a smile of a son who takes so much solace of broken promised joy in the love that still flickers and exists between the two people who brought him in this world. Even if the only one who sees it is him, like the Doc prescribed Danny boy himself from Stephen King's 'The Shining' (and maybe the movie too, but if you read our review of 'Halloween' you know I'm not there yet). But still acutely aware of the horrors of hallmark divorcing traits that threateningly haunt this house. As he has to shoulder that burden and pick-up the load. Shopping with a basket on his bike that would normally be used for a paper round, cycling past an older gentleman pushing a row of shopping carts together that almost looks like his father. Trying to warn off the advances but also accept the new figures in his life like veteran character actor Bill Camp. Equal measures of warm and creepy as we really see him through billowing cigar smoke. Setting up shop for his best role yet outside of Jessica Chastain movies like 'Lawless' and last years 'Molly's Game' hand Also trying to develop what he wants to do with his own life. Becoming the young apprentice of a photography internship that through the lens reveals the real person in portrait. In some perfect shot moments of the human condition and the filters we try and show ourselves to people through. Trying in some vain to mask what is really there for the selfie selfish, Instagram applied age to tap into on the double. As powerful in reply as 'The Answer' of the Unkle featuring Big In Japan trailer song, the tarp shrouded background, three chair parted portrait of his parents is this films biggest picture and frame of reference. As Mulligan trys to keep it together and hold back the falling apart tears and center herself for the candid shot, as a gone looking Gyllenhaal let's us gaze into the gaping holes of hurt in the eyes of his soul, damn does Dano deliver. It is this lasting image too which should serve as all you need to see to watch this movie. As in this spoiler age we live in the trailer tells the whole story somewhat the more you look into it. Better to go into these woods blind. Like Oxenbould's young blood who starting to see the light for what it really is, asks in the aftermath of a petrol powered third act finale, "what's going to happen to us"? As Mulligan replies "I don't know" with a piercing whisper of desperate regret from someone who now knows the pain of not being able to provide her first and only born with the answers he yearningly needs, from the only people he truly trusts his life with is a violent, beyond powerful shock to all our systems. Making this Sundance, Cannes and Toronto International Film Festival leaf favourite an American classic the modern world would do wonders to learn from. Before the all too late lesson engulfs us all. As all our human nature in this life looks to survive the wild. TIM DAVID HARVEY.

Further Filming: 'Carol', 'Fences', 'First Reformed'.

REVIEW: WIDOWS

4/5

Widows Peak.

130 Mins. Starring: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jon Bernthal, Carrie Coon, Manuel Garcia-Rulfo, Lukas Haas, Garret Dillahunt, Jackie Weaver, Robert Duvall & Liam Neeson. Director: Steve McQueen.

How to get away with daylight robbery when all your husband's have been murdered. Well it's a pretty easy mark actually. As it's no longer a man's world. As a matter of fact it never really was. But it would still be nothing...NOTHING without a woman or a girl. And to take on a job like this you're going to need a crack team of an epic ensemble, all all-star cast. Which will take a powerhouse director to pull all the strings behind them. How about a legendary name like Steve McQueen? Who knows how to walk this tightrope. As soon as one big actors character threatens to veer off the edge. He puts his leg out and uses another as counter to gain his center and therein finds the right balance. And in assembling a roll call of Hollywood who's who players for his best cast since the Oscar winning Lupita Nyongo, Chiwetel Ejiofor, Sarah Paulson, Alfre Woodward, Paul Dano (going up against these 'Widows' this week and not just in the alphabet with his wonderful 'Wildlife' wildfire), Giamatti, Michael K. Williams, Benedict Cumberbatch, Brad Pitt and frequent collaborator Michael Fassbender (the real and raw 'Shame' and 'Hunger' will eat away at you. All the way to your core) '12 Years A Slave', moviemaking design king McQueen gives us his closest to that when it comes to his greatest hits. Of course nothing is coming close to the amazing adaptation of Solomon Northup's moving memoir and the most important movie of the last decade that even predated the Black Lives Matter movement that has in grounds up ways always been around, planting its feet and refusing to be backed down. But now in a time where we need more movies like this and films with real women at the forefront (no matter how many superheroes we get for show in 'Wonder Woman's and the 'Black Panther'), McQueen teams up with another powerhouse by the book in 'Gone Girl' novel writer Gillian Flynn to adapt Lynda La Plante's bestseller 'Widows', that has already been an 80's U.K. T.V. show...cue the cans of hairspray. And even in a year where Sandra Bullock lead an 'Oceans 8' squad of sisters for the ultimate diamond in the rough of those wrote off critics who thought you couldn't crossover a franchise like the criminally underrated 'Ghostbusters' reboot. Or one were Evangeline Lilly officially joined 'Ant-Man and the Wasp' for her Marvel history making moment for the first female to have her name in the headline bright lights of the big picture in the movie mainstream. There has never...NEVER been a heist movie quite like this. And this may be no con, but oh is it on.

"Nobody thinks we have the balls to pull this off", Viola Davis tells her hit crew like a rally cry. As the 'How To Get Away With Murder' T.V. star hits the big screen again with some powerful words that up the ante on her Oscar winning famous 'Fences' speech. She's standing right with us again. And it's a masterful performance from easily one of THE leading ladies in a masterclass of actresses. Most appearing alongside her in 'The Help' (Emma Stone, Jessica Chastain, Bryce Dallas Howard, Octavia Spencer) of the Academy. Davis already displayed her action smarts in Michael Mann's cyber-thriller 'Blackhat' and she's also assembled a 'Suicide Squad's. But now with the best of the best she's the hero looking to hire. And she owns every scene. No one could do it better over sinnerman haunting Nina Simone. Simmering to a Hans Zimmer score as McQueen settles his by bringing out all the big guns. Although the team she mentors with her Mamba Mentality are just as killer too with no filler. 'Avatar' and 'Fast and Furious' franchise face Michelle Rodriguez gears up for easily her best performance to date. Showing just why she commands so many big pictures and the strength and acting smarts that actually go behind her tough stoplights, camera, action work. The 'Fast' franchise may speed past trying to develop her career whose been riding shotgun with Diesel since the late, great Paul Walker...but she won't. Whereas BBC 'The Night Manager's star Elizabeth Debicki really came out of nowhere a few years ago with 'The Great Gatsby', 'The Man From U.N.C.L.E.' and her gold 'Guardians Of The Galaxy Vol. 2' moment. But she shows with probably the most nuanced character in this whole film that she truly is here to stay now. Hitting the mark, right on shooting mark target. But in stepping up for 'Gone Girl' widow Carrie Coon (whose having quite the year on formidable form here after her vocal C.G. armed up role as Proxima Midnight. One of Thanos' big, bad children in the 'Avengers: Infinity War'), stage and screen, singer/songwriter (who was so inspired in the video for 'Empire' singer Jussie Smollett's real music and love for all, 'Freedom') Cynthia Erivo threatens to take the wheel and steal the show with these four horsewomen of the revenge mission apocalypse and her stay at the 'Bad Times At The El Royale' hotel on one side of California.

But here in an untouchable Chicagoland that's seeing a storm of change in the Windy City there's enough dynamite direction from 'Widow' maker McQueen and searing script work from him and Flynn in some dynamic dialogue that you have more than just the best action movie of the year. No Black Widow superhero C.G.I. These 'Widows' are the real heroes, even anti playing the villainess like a South Korean smash. And this rough and ready thriller has more substance than your average slick in and out jack move movie. There's black eyes, bruised souls and the punctuated palpitations of a beating heart behind this in all its depth of drama. Watching Viola run through all this violence like the notes on a violin is inspired in all her incredible influence. Breaking down and screaming in the wake of her mourning, before steeling herself in a calm, centered instant in her black suit like she did breaking down walls and putting the foundations back up again for the entirety of her 'Fences' theatre to "in theatres" run. It's right there with McQueen's subway car stare look of a sex addicted Fassbender in the closing moments of 'Shame' in a "is her smiling, or dying inside" open ended question which shows there's much more to this directors camera work than showing you everything as we or he sees it. Steve McQueen as a director, like in a pivotal scene here is sleight of hand adept at making it look like a character playing to type and trait is about to do one thing so surely. Only for it in the end to be exactly the opposite in intention and execution. And boy does this man know how to film an action set-piece like we've never seen (him do) before. The opening cop car chase filmed from the back of a van opens with a firecracker of a loud, booming bang on these cinematic streets that haven't seen it this epic since Heath Ledger's legendary Joker jacked a flipped truck and dared Batman on the back of a (sort of) Harley to HIT him. And in another one shot instant direction technique Steve shows us the haves and the have nots of this Chi-city. Windshield dash-cam riding from the poor part of town to the penthouse like one. All whilst sunlight reflective revealing behind the wheel why the man being chauffered around is to ignorant to realize what he's just been saying about the man he couldn't operate without upfront. There's so much more to these 'Widows' and on board in this movie that takes on both racism and sexism and is as powerful as the woke "who are we when this world got you down on your knees" words of the preachers served sermon in congregation here. And we aren't talking about the men behind them. Or the cast. But what a cast it is, even if it is truly behind everything else. There's leading greats here on top form like the ever underrated Colin Farrell. Perhaps more of a snake here in Congress than he was as the oil slick lawyer who greased Denzel Washington's Oscar push 'Roman J. Israel, Esq'. And legends like the 'Godfather' of modern movies Robert Duvall and Liam Neeson who really is in everything as well he should be. Even this job. 'Silver Linings Playbook' Oscar winner Jackie Weaver adds to her lasting legacy too. Whilst there's so many widows here there's even room for character actors like Lukas Haas (on a mission right now with this and 'First Man'), next great one from '12 Years' ago, Garrett Dillahunt, 'Magnificent Seven's' Manuel Garcia-Rulfo and the 'Fury' of  'Punisher' Jon Bernthal whose cameo really speaks to his immortal, fateful last line in his 'Baby Driver' along for the ride, days work. But amongst all these women's work, there's worth in 'Atlanta' and 'Get Out's' Brian Tyree Henry and Daniel Kaluuya respectively. So good at playing bad that with all due respect you'll be left either hating them or rooting for them, whatever your poison. Henry (whose also had a stop and stay alongside Kaluuya's 'Black Panther' co-star Sterling K. Brown this summer in 'Hotel Artemis'. And is about to add to his formidable making filmography with Oscar frontrunners 'White Boy Rick' and 'If Beale Street Could Talk') barges into this movie like the apartment front door of a grieving widow to say his war and piece with a sneering cackle. But in pure, puerile, vile villainy owns it all as his symbolic face in front of Jesus's cross is as ironic and iconic as Marhershala Ali's Cottonmouth standing under a picture of the Notorious B.I.G.'s crown in 'Luke Cage'. Whereas with pupils that pierce, Daniel gets so dark he may just be the devil incarnate here. From staring someone down and silencing them in a cipher as they rap their last rights (for a 'Black Panther' soldier who really wanted to kill Klaue, he sure likes Ulysses' run away, just kidding methods of execution). To striking a disabled man down in a bowling alley gutter low moment. As they stand defiantly and paying disrespectfully together from afar. Mockingly waving and watching over a funeral procession, evil has never been this pure...or epic on screen. And it's going to take a gang of real woman to bring them to street and wrath of a scorned Godess justice. Hell have no fury. And with all that you better get your affairs in order and better hope you don't reap what you sow. Because these 'Widows' refusing to sit down and take it are making a killing. TIM DAVID HARVEY.

Further Filming: 'Gone Girl', 'Oceans 8', 'The Town'.