REVIEW: BEAUTIFUL BOY

4/5

Call Me By Your Son.

120 Mins. Starring: Steve Carell, Timothée Chalamet, Maura Tierney, Andre Royo & Amy Ryan. Director: Felix Van Groeningen.

Beautiful, beautiful, beautiful, 'Beautiful Boy'. Call him by his name and call it like it is, Timothée Chalamet is one of the hottest young actors right now. And we aren't talking in regards to this handsome kids looks and locks. More like his magma mainstream talent that has out of this world, gone 'Interstellar' ever since the days he starred alongside Matthew McConaughey, Anne Hathaway, Jessica Chastain, Mackenzie Foy and Michael Caine in the Christopher Nolan space and the infinity of beyond epic. Now following the same Oscar year as he and Armie Hammer went award season Dutch on the Italian love affair of the novel adaptation of 'Call Me By Your Name' (his silent tears water the father son bond of a closing, Oscar worthy, by the book speech that (the only book to ever make me cry) is something everyone recovering from a lost love needs to read and heed before snuffing that flame out and tearing so much of themselves out that they become bankrupt by the age of 30), Chalamet also made cameos of significance in both the Christian Bale starring western 'Hostiles' and of course Saorise Ronan in Greta Gerwig's 'Lady Bird's (which to mother and daughter, is what this movie is to father and sons), easily the top three movies of 2017/2018 inclusive (depending on which country your cinemas reside in). But you haven't seen nothing yet. The ever charming Chalamet who is giving us skinny guys named Tim with shaggy hair a chance (thanks Timmy) is about to take the lead role in 'Blade Runner 2049' sequel director Denis Villeneuve's 'Dune' remake. With arguably the greatest actor of this generation Oscar Isaac playing his pops (how perfect does that sound?). But it's his Steve Carell father first that takes the palm on the shoulder human touch here to begin. Chalamet is disarming as a young drug addict. Both bracingly beautiful and full of distraught demons looking to take the substance of his life apart from within. From crawling skin on bone to gnawing teeth in his grinding jaw, Timothée's transformation is one three times physical, emotional and spiritual. He works with the 'Machinst' weight he's lost and has left to show the gaunt look of a child whose only sustenance comes from his developing drug habit and the malnourished mind of a man whose nerve endings are being fried to its last very feeling. Its more than hard to watch on your every nerve. It's beyond brutal. But Tim makes sure you feel every nuance of his physiological and psychological pain in every wrung hand and blinked back tear. It's a caustic cautionary tale look at a real kid who had a real life and dreams, but the perilous pull of addiction and the side effects abuse would always sledgehammer all that into the silent scratches of a kid with hope in his heart, but junk in his veins. It's searing to the senses, but Timothée Chalamet is serious about all of this and doesn't fake a single note in respect to both subject and matter. No wonder there's nominations again this Academy go round. This kids work isn't just transformative. It's transcendent in the sponsoring notion that like Leonardo DiCaprio in 'The Basketball Diaries' this is going to make young kids think twice about circling the sinking drain once the hooks in.

Ever since he was catching foxes with 'Magic Mike' and the Hulk, Gru of 'Despicable Me' has gone from comedy to gold standard serious acting like the depression of 'Dan In Real Life', or the light of all that in 'Little Miss Sunshine'. He even went for the service of an award season 'Battle Of The Sexes' with Emma Stone last year. Carell knows how to coral the box office, but now he knows how to bring the mainstream more meaning himself too. Forget about loving lamps, this guy loves to act as people like former 'Anchorman' funnyman director Adam McKay can attest with his definitive directorial double of 'The Big Short' financial crash, or Christian Bale as the big Dick Cheney in this week's 'Vice'. Which sees Carell without any prosthetic look and eerily capture the feel and hold of Donald Rumsfeld himself. And right now like Chalamet's 'Call Me' double, Carell shows he's the hottest actor this week with two of the biggest films of the month and the award season out there (not to mention his hidden figures of 'Welcome To Marwen'). But it's this one were the bearded and greying Steve shows just how dedicated he is to all this. As Chalamet shows there is still a 'Beautiful Boy' underneath all that crawling skin and drug addicts itch, Carell shows that just like the Beatle, "your daddy's here" to make sure to "have no fear" as the "monster's gone". But there's so much more to Carell's character than the parental love of a wooried father with unconditional love and devotion. Forget that everytime he shouts you'll be left thinking, "LOUD NOISES"! Carell captures every emotion with an acclaimed actors touch and feel for humanity. Bringing forth the turmoil of the inner torment a father feels when he is helpless in helping the one boy he wants to protect from all the evil in the world, once the needle is in and the damage is done. The lead musters all he can manage with his entire heart to show that in his most subtlety soulful and numbly bruised performance to date. This is by any measure one of the hardest things to watch. But seeing it through a father's eyes, in all his picture portraits memories, regrets and fears for the future he doesn't want him or his very own to face alone, is something you can't take your eyes off. No matter how much you want to look away. When Carell's father figure looks a shadow of his former self as he walks around what should be an idyllic home with all the world is adding to his shoulders each time without so much as a shrug, you will feel every weight he carries. One such a toll that like him you could only wish you could help with to lighten the load of this torture.

"Life is what happens when you're busy making other plans", John Lennon sings in the song to Sean that this movie is named after and features with the heart of Carell's sweetly soulful lullaby. And it's a metaphor for this movie from Belgian director of decadence Felix Van Groeningen that masters the moving sense of this struggle in skitish and anxiety aggravating tones. Just as it does the late 90's aesthetic and strong but somber soundtrack that then scores into the harrowing strings of something out of a horror movie to mask the real evils that haunt this house. Sobering and strung out, this movie based on the memoirs of both the real life father ('Beautiful Boy') and son ('Tweak') portrayed here are as genuine as it gets to the letter. No matter how unflinchingly hard that is to take. And it's given more gravitas in its groundbreaking, not suitable for Hollywood clichéd work realism in this independent picture that stands on its own from some of the other figures in this family drama. Like the marvellous Maura Tierney, stepping in as Stepmom. As the small screen great of 'ER' and 'The Affair' fame shows she without a word can communicate books worth of counsel, love and support from just one facial expression. Like her "I got you" opening, tired, embracing arms around the neck of a world weary Carell. But believe she has her say too like mother and ex-wife Amy Ryan. The 'Birdman' star out in L.A., but not pursuing ignorance. More like the other methods she can in the open state of California to help cure her son's urge that is fixing to take his life and destroy all the ones of all the people around him, who can't bear to watch him heartbreakingly lose his essence and being to this s###. Even 'Empire's' Thirsty oil-slick shark of a lawyer Andre Royo is here as a sincere and serious sponser offering helpings of heart and humour in a movie full of the first. But desperate in the latter as every joy, or sense or recovery, threatens to remiss into the never seemingly ending fall of relapse like the monsters, real or imagined that lurk and hide under the bed of horror movies. In the Julia Roberts and 'Boy Erased' fellow indie kid of the moment Lucas Hedges ('Manchester By The (My God that killed me, Oscar winning) Sea') movie 'Ben Is Back', our mother takes her son to a cemetery before he hugs her from the waist down in nothing left desperation to make him choose where he'll be buried if he relapses again in the most realing and teaching moment. Here this method isn't employed for fears of it coming all too true. Drug addiction is the sole biggest killer for the youth under 50 in America. And with mainstream music and a modern careless culture, going out and beating that fact and devil may think twice notion into young, impressionable minds, this unnerving, unflinching and jarring movie is the one counter to all this, that can be even related to today by millennials. But through all these black holes in a drug abusing system, there is still hope here for an escape. And it all starts with Timothée. And boy is that idea of influence bleak...but beautiful too. As a matter of fact, it's "everything". TIM DAVID HARVEY.

Further Filming: 'Ben Is Back', 'Call Me By Your Name', 'Lady Bird'.

REVIEW: GREEN BOOK

5/5

Driving Mr. Ali.

130 Mins. Starring: Viggo Mortensen, Mahershala Ali & Linda Cardellini. Director: Peter Farrelly. 

Put this down. No other actor working today has the poise of Mahershala Ali. It's kind of like what (should have been 'True Grit' Oscar winner) Hailee Steinfeld said that Matt Damon displayed greatly in 'The Ballad Of Buster Scruggs'' Cohen Brothers remade John Wayne, Wild West classic. Although the child star back then may as well have been talking about herself and the 'Pitch Perfect' idol for young women she would grow into with 'Bumblebee' buzz this Winter. "You never win with violence, you only win when you maintain your dignity", Ali says like he's quoting Muhammed, or the King. But with poetic grace, this dignified people's champ is making his own quotable legend. Legacy making role, by legacy making role. His shore side counsel with Little after tenderly teaching him how to swim by 'Moonlight' has already given him his first Oscar with less screen time than Anthony Hopkins in 'The Silence Of The Lambs' as the 'Best Supporting Actor'. And now being driven around by Aragon like Miss Daisy in the back of a caddie the same colour as the jacket of forever First Lady Michelle Obama's million memoir 'Becoming', Mahershala looks to go for another in competition with Barry Jenkins's amazing adaptation of James Baldwin's beautiful book 'If Beale Street Could Talk' with his own 'Green Book'. The pre-civil rights indispensable guide to where you could eat and drink on the road in peace in the middle of a Deep South segregated time of ignorance in need of inspiration. And oh how it courage came from this legendary jazz pianist virtuoso Dr. Don Shirley. Moving people with more than the handshakes and smiles of his notes. Both on the keys and behind the chords of life. Ali makes Shirley his due homage respects, honoured own. Giving him the same gentlemanly air he gave his love interest in the true story, equality space race of the women of 'Hidden Figures'. Going big on the road and never home, as the former small screen gem of 'Roxanne, Roxanne's' Netflix's 'House Of Cards' and 'Luke Cage' series' does the double right now (not to mention the triple with 'Alita: Battle Angel' for the former 'Hunger Games' franchise star. Who damn, is also The Prowler right now in the animated 'Into The Spider Verse' best web slinger film yet. Rumble young Ali, rumble), returning Season 3 of the now playing 'True Detective' to its alright, alright, alright, Matthew McConaughey glory days. Now this is a McConaissance. A Mahershaissance. "So if I'm not black enough. And I'm not white enough. Than tell me what am I"? He demands for an answer in the cold, pouring rain to the soulful Sam Smith's pleading 'Pray' in the terrific trailer that will move you to tears like it does any critics calling it tame to reconsider. Just like he rewrites anything else that "you know this is pathetic right" to the letter. Like when he one leg crossed over the other, palms draped dapper to the Gentlemans Quarterly, Esquire wasp checked blazer don, smartens up his partners love note to his wife over a fast food, bench break road stop. With musings of spirit, falling in love being the easiest thing in life and cowbells at the opera. That like his tinkling of the ivories as his fingers dance across the keys. Or disarming ease of diamond and pearl smiles in a world of purple punches with no heart and forlorn frowns of bruised souls that relaxes all those muscles, is just as perfect as the way he says that word of reassuring, knowing grace. And so it goes. Sidney Poitier. Denzel Washington. Mahershala Ali. But don't look at the race. See the man.

Elegance is Mahershala's presence. But Viggo...oh Viggo. Mortensen is something else altogether as the Tony Lip service of mob muscle B.S. But in warming the hearts on these rolled up like his sleeves window long drives and the performances he puts on to protect himself, he's one and the same jazz man. The most chameleonic, never one the same, yet underrated Danish/American actor of 'The Road', 'Lord Of The Rings', 'Eastern Promises' and of course 'Captain Fantastic', with all those distinct looks behind those one of a kind eyes (yep they're all him) is at his very best here. Cutting back the shaggy, unkempt locks and combing them down to something much slicker and beefier, with a drooping bummed smoke hanging off his top lip, or the greasy chicken fingers between his bruised knuckles. Yep you guessed it this Italian New Yorker from the "forget about it", fifteen to a dinner table heart of the Bronx works in "public relations". Any complaints, there's the door...you know the one you can see when you look up to your feet. But here next to the stirring soul of Ali, he's also the heroic heart of this piece. As his character goes from ignorant to inspired in as many times and ways as you can cross out a letter in biro and correction fluid start again as you wipe away the eraser marks and Newport ash. And if you just thought he was the funniest thing about the finest film we've seen in years then think again. Anyone can crack a joke. But knowing when to get serious is Mortensen and this films real drive. One that takes it from Oscar bait fodder to a movie that will last decades later in the all-time greats. And this odd couple are the perfect best and supporting actor partnership in classic combination collaboration. Both banter drawing laughs with their own dry wit and outrageous comments and other emotions until you wipe tears, with their wills and ways in a world that demands you come to battle with both. If Mahershala Ali is the kind of actor whose piercing pupils can say far more from the eyes of the soul than the words he wishes to compose ever could, then Viggo is a sledgehammer when it comes to subtlety. But there's more than one way to hammer a nail. Both ways work. Even if ones way of making noise is by first ink blot quilling the quavers on a songsheet, whilst the others is bashing two symbols over your head like "drumroll please"! Sometimes even when you play the piano perfectly (like Ali does here, worthy of a 'Revenant' dedicated Oscar like all singing, writing and guitar playing actor Bradley Cooper needs in nominated direction) you have to slam the lid down with a John Legend 'Green Light'.

Book all this however with some musical direction. As the previous green around the gills dramatic director Peter Farrelly debuts with a definitive Oscar worthy movie. Can you believe this all comes from the same director of 'Dumb and Dumber', 'There's Something About Mary' and 'Me, Myself And Irene' to name some gross out classics to begin? 'Shallow Hal' this is not. There's something so much deeper here, despite the off screen controversies that were long in the past and have been apologized and atoned for profusely. And all the mistakes made although are not excusable should not take away from the meaning of this money and what it should teach us as people in how we treat ourselves and others around us (the subject matter has certainly had its impact on everyone concerned). No matter where they come from, or what they look like. From not pulling out a wad of cash in a bar, to knowing not to lose your head in a history of violence, when "dignity always wins" in the end. Which is what we need in a time that is still a shallow reflection of were a man like any other can perform for a group of people who won't even want him to dine with them (let alone use their restrooms)...and still entertain them. The all too true example stories of Nat King Cole and the greatest big man of all-time, the Boston Celtics' Bill Russell will move you to hurt. This true story of a real friendship that will always last beyond the six years ago they passed within just a few months of each other educates us in so many ways. From the beats on the road like Kerouac to a greatest generation soundtrack, to hanging on something more romantic than the telephone cord back home. As 'ER' and 'Mad Men', Emmy Award winning actress from small screen to big, Linda Cardellini shows us why she's so much more than just  the Hollywood clichéd stereotype, stay at home wife and mother character, just like she does in the 'Avengers Age Of Ultron' and 'Daddys Home' franchise series. Giving more realism to those roles like she does so much more helpings of heart and definitive dedication here. Like Doc Don Shirley this act is about a trio, not just not one man alone. The Holy Trinity also looks at there's ways of capturing an audience. Through humour, hurt and in the end heart. As for every moment over Kentucky Fried Chicken that splits your sides, there will be one that pulls you over to a sundown town reality that still sickeningly in some parts has to be lived with (why?) to this day. All before a final get together for all the family you could listen to back and forth all day, like a 'Daily Show' Jon Stewart classic bit offers more than something between Thanksgiving and Christmas akin to a mature version of the John Hughes 80's baby classic 'Planes, Trains and Automobiles'. All from a man who knows how to take heart from humour. In the perfect film to cure those January blues before the love of February is here for those who still don't want to wrap up the festive lights like Winona Ryder in 'Stranger Things' too. And it's these notes in dedication to the good doctor, Don Shirley's powerfully moving peace mission (as integral and important as all the Dr. King and King of the World Ali sacrifices and examples of a better world) through the changing hearts moving ability of music that make 'Green Book' the perfect guide to a better life by the letter. Something, especially right now we all need to read and heed. And if that wasn't enough in writing. After seeing this in a bonding session with my father, biting and blinking back tears as the credits rolled he simply said, "that was one of the best films I've seen in a long time." And that's all the review you need. P.S. "Kiss the kids". TIM DAVID HARVEY.

Further Filming: 'Moonlight', 'If Beale Street Could Talk', 'Driving Miss Daisy'.

REVIEW: VICE

4/5

Washington Vice.

132 Mins. Starring: Christian Bale, Amy Adams, Steve Carell, Tyler Perry, Alison Pill, Jesse Plemons, Shea Whigham, Bill Camp, Naomi Watts & Sam Rockwell. Director: Adam McKay.

What a dick! How's this for a 'Big Short'? Taking a sheath out of the 'Darkest Hour' Best Actor book of Commissioner Gordon, Gary Oldman himself and his Oscar season winning Sir Winston Churchill, Batman, Bruce Wayne, Christian Bale whatever you want to call him (who is he?) moves 'Machinist' weight yet again. Donning the fat suit, 45 of his own gained lbs and neck rolls. Giving us more than the balding paunch of his last 'American Hustle', reuniting with the amazing Amy Adams perfect partner, going full Lady modern Macbeth in the White House. Now who holds the real 'Vice' here? Behind every powerful man is a woman. And as Dick Cheney is widely considered to be the most powerful, puppet pulling Vice President in American history, you can only imagine what she wields. But just like a Trump interruption to spoil the end of what looked like a nice decade, we all know powerful is not the same as popular. As the V.P. had a 'Forrest Gump' I.Q. low 13% approval, the kind that 'Vice' doesn't want to have splatted all over Rotten Tomatoes, everyone's go to 'go out or Netflix' recommend. But how can a film about such an abhorrent administration that waged war for their own wages more than the good of the nation be something people even want to see as entertainment? This writer went to a showing with Michelle Obama's 'Becoming' in his backpack...and not as a protest. Why make a film about this Dick (last one...I promise)? Well first of all this almost parody piece hides the scratching subterfuge of satire behind this fat suit. And it's all reported to us by 'Anchorman' and 'Step Brothers' (they should have had his magnify glass class for the 'Holmes and Watson' Christmas turkey) classic comedy gold director Adam McKay. Who has found himself a new dramedy niche with the cash slick grabbing Oscar nominated movie on the financial crash 'The Big Short', based on 'Moneyball' writer Michael Lewis' blistering book of insight. And leaving only the Ryan Gosling and Brad Pitt (although he helps produce this, along with Ron Burgundy himself, Will Ferrell) Hollywood heartthrobs behind on this one, McKay seems to have found his own lane which no one can steer or veer him from. Take one of the worst world situations started from the state in the not so United States and offer humor to all the pathos. Just to show how f##### we really are with heart. Not for a quick buck, but to buck the trend that everything has to be so serious. Sometimes to shed light on a situation you have to make light of it, before finally making a real world implicating, deadly serious point that people can take home. Because after all the line between comedy and tragedy is thinner than that of Bale's Cheney hairline...or mine.

Extraordinary. That is what Bale's latest epic transformation is nothing short of. After starving himself more skeletal thinner than this writer for 'The Machinist'. Or losing that slick Bruce Wayne manor born muscle for 'American Hustle'. But all that looks like a mere food baby compared to this. As plodding down to the "I don't give a damn" of The Killers 'The Man' he looks like he just made a killing on a different type of throne. Christian is the cock of the walk and the talk of the talk. Bale is almost health, death-defying as the man behind Dubya in the "is it really him" (whether you're asking in regard to Bale or Cheney) trailer first reveal that to that Brandon Flowers heartland of Sin City of Las Vegas music almost plays out like a character introducing family situation comedy...I guess in some ways it sort of is. Almost akin to that genius, epic 20 minute long Adult Swim 80's theme tune parody to 'Too Many Cooks'...get it?! And the new tradition themes keep to the same McKay directing broth that he left us with 'Short' and it's mathematical, "this is the science bit, concentrate" explanations from Selena Gomez at a craps table and Margot Robbie in a bubble bath. Or 'Diana' Naomi Watts as a Fox News anchor and 'The Post's' hottest character actor of the moment Jesse Plemons serving as much more than a narrative device. How about some Shakespeare before...is that the credits already? This is a slick look at an oil baron who tried to play pretend he was all that with a comb over (this male patterned baldness is going to come quicker for me now). Until we saw his shotgun blunder buss out the press like he was treating his friends back like a shooting range. And there's plenty of buckshot loaded in this take down of a former CEO in presidential power and his whole army of an administration. Even if sometimes some of its debauched behaviour airs on the power corrupts, celebratory, 'Wolf Of Wall Street' cautionary tale side of things. But whatever side of the coin you choose as you flip between, Bale is always the real deal here. Pulling no punches for a man who had clout in dollar, but was as poor in mind as he was health. If you think Christian is praising even a man he thinks is great you're wrong. But if you think in a genius role he's also not showing any humanity in all its bewildering dimension to just another one of his fellow men then fool me twice.

Shame on them. Because just when you thought we couldn't get fooled again with this House of Frauds then look at how much this mirrors what we are going through now as the Donald quacks on his phone, like Twitter wasn't just for the birds. The only President as purile as he is turns out to be Kevin Spacey. But these guys come pretty close for a time were folks actually voted that they'd rather have Martin Sheen's fictional President in the 'West Wing' than the Bush they were hiding behind. And dead on over Granny's peach tea, Sam Rockwell's George Bush is a Josh Brolin 'W' rivalling, "most of our imports could from overseas" dumb dead on look and part that goes beyond an inspired impression you'd see in something like 'Saturday Night Live'. All whilst giving us the human touch we finally saw from the man this year at his father's funeral, along with handing out mints. And with another Academy Award nomination for last year's 'Three Billboards Outside Ebbing Missouri' Best Supporting Actor Oscar winner, he could do the back-to-back double this season in playing absolutely abhorrent characters. Yeah...right! Hot damn! But how about the rest of the Oval Office. Like the Brick laugh of Steve Carell, who has since 'Foxcatcher' gone all Oscar serious with the double-header of this and the beautiful 'Beautiful Boy' with Timothee Chalamet. 'The Big Short' actor capturing that sneering Donald Rumsfeld look uncannily, almost as much as Rockwell's Bush and of course Bale's Dick. Not to mention the chameleonic Tyler Perry stealing his spare change scenes as Madea does Colin Powell (not literally), the one beating heart here. Even 'Wildlife' and 'Molly's Game' character actor vet Bill Camp is on solemnly swear hand as President Gerald Ford. Even though we don't get a Nixon (thank God) or Reegan. But through all this political and families back home drama, featuring 'Milk's' ever underrated Alison Pill looking for her rights and a brief appearance from Shea Whigham (whose daughter Giorgia right now is owning Season 2 of a 'Punisher' who needs to give her father's on-screen pops a visit). It's the 'Hustle' of Amy Adams' ever growing and hard worked formidable filmography featuring it's most divisive, defiant and definitive, powerhouse performance yet. As Bale and Adams partner up yet again as an 'American' power couple that make the Jay and Bey power couple of the Carter's administration look like shutting down the Louvre in Paris to make art was just finger paints. This is set to make the crowd go apes###! No matter how bulls### it all is. The con is back on America...you ready to do the hustle and dance to this tune? Thought not. Searingly funny. Searingly serious. Forget cufflinked sleeves. There's a moment we're Cheney's still heart is right there on the table. And f### almost! That pig sucker looks black. The opening line of 'Vice', this epic expose on the still secretive man based on an as true as they can get story says to that regard, "we did our f###### best"! If only the Vice and his President could have. TIM DAVID HARVEY.

Further Filming: 'The Big Short', 'W', 'The Front Runner'.

REVIEW: THE MULE

4/5

Gram Torino.

116 Mins. Starring: Clint Eastwood, Bradley Cooper, Michael Pena, Laurence Fishburne, Dianne Wiest, Alison Eastwood, Taissa Farmiga, Ignacio Serricchio, Clifton Collins Jr. & Andy Garcia. Director: Clint Eastwood.

"This is the last one. So help me God. This is the last one". In the same year iconic movie legend and generational great in front and behind the camera, Robert Redford hung up his Stetson and six shooter with the classic 'The Old Man And The Gun'. 'The Man With No Name' (yeah right), Western to Eastwood, Hollywood director's chair legacy maker Clint looked to go for one last 'Logan' ride through the neo Wild West, with more in the trunk than a few prescription pills popping. 'Green Book' this is not. Sure it may not be a gravel sing about it worthy 'Gran Torino' of a vintage decade ago he's driving across State. But clocking up the mileage Harry is getting Dirty once again. Missing only a Magnum in the glove compartment with all that brown paper bag cash. Punks...he must be feeling lucky. Because in the scope sights of his own reunited, directed star, this actor/director here has an 'American Sniper' on his trail in the form of the award season laden Bradley Cooper (although how about an Academy Award nom for the direction of the all writing, singing and playing superstar Oscar?). Rookie to vet learning from his mentorship with all the 'A Star Is Born' whiskey slicked back hair and facial fuzz cleaned up to a cop role. But it's going to take more than a 'Hangover' to stop this 91 year old. Retirement? "I love my job" he's told press...and don't worry he's not talking about moving that white...I hope. He's not heading for the Redford hills yet. And in the same year he made the master moving move of having the real heroes of 'The 15:17 To Paris' playing themselves, Eastwood shows he may just be the hardest working "old" man in the industry by the gun. And you know he's still got it critics. Did you not see how he landed one of still in his prime Tom Hanks' with 'Sully' for a 'Miracle On The Hudson' and a long awaited collaboration of greats? That was only a few flights ago. This guy less than a decade close to a century is taking off with this drive. Nothing is in park here. Torino torque with plenty of horse power for this mule.

Pecans? Those aren't pecans! As American as Apple Pie, this is the Republican Eastwood like you've never seen him before. Becoming 'American Made' like fellow bright lights, big Hollywood name Tom Cruise and smuggling that 'Narcos' in the Netflix age of the dark side of the American dream in the same week we are stuck with the weight of being trapped in Christian Bale's baffling Don Cheney 'Vice'. But just be glad 'The Mule' is moving the contraband under bags of nuts and not up a different kind of trunk. As Clint doesn't make an a## of himself here. Good? Bad? Ugly? Clint Eastwood's 'Rawhide' beginnings saw him in more spaghetti westerns than you could twirl a fork around. But in the second-wind, later years of his Hollywood life the man turned out to be a 'Million Dollar' director in hiding. The 'Fistful Of Dollars' to 'Unforgiven' Hollywood(land) icon hasn't acted since 2012's big swinging, Baseball Sunday afternoon family drama 'Trouble With The Curve' with Amy Adams and Justin Timberlake. But he hasn't missed a step, keeping up with his definitive direction. 'Mystic River', 'Changeling', 'Invictus'. Some of the aforementioned in this article. Even a musical number showstopper in the off-Broadway, 'Jersey Boys' revival. And both side of the war in the double header of 'Flags From Our Fathers' and 'Letters From Iwo Jima' (tell me now he really discriminates) being amongst some of his formidable filmography's favourites. Add this 'Mule' to those variations too. As the Tom Waits of acting (wait...isn't that Waits?!) gives us another great for the album collection. And by all these decades long time you know just what to expect from this model of classic consistency in his growling signature. More than a "splash" of racism, but that more traditional trademark of subtle, kindly poignancy. Both in the beauty of his direction and the acclaim of his acting. Which old dog here learns some new charisma to go with that old world fashioned charm. As he makes fast, fond and funny friends with the cartels he carjoles. No matter how under the gun he looks, like 'Lost In Space', out of this world talent, Ignacio Serricchio. Heartfelt and warming, Eastwood is hallmark Hollywood in what dresses up as more than an all-American car commercial, rusted pick-up to Chevrolet highway of this great land. All the way to the end of the line in a 'Dirty Harry' homage suit, with a knowing fourth wall break look to us, riding shotgun.

Roadside dining, starting trouble in the Waffle House gives us a Pacino/Dr Niro first-meet 'Heat', sedate, subtle and beautiful homage by the menu with Eastwood and his 'Sniper' reunited Bradley Cooper by the syrup. For a DEA agent who along with his 'Narcos: Mexico' prequel partner-the ever 'End Of Watch' more than watchable, Michael Pena-need more busts for 'Matrix' legend Laurence Fishburne on 'Man Of Steel' Perry boss desk duty than front store mannequins. But it's also a down the scope look at living this life versus living for the loves of your life (which isn't that one and the same?), with the multi-faceted Cooper who threatens to steal it all (ironically from the thief he's trying to cop) in a role that would have looked good on Clint's soaring son Scott too. But it's his daughter, Alison Eastwood who comes out of a retirement pops don't consider to play the hurt heart of an actor's character who was a terrible father, a terrible husband (to 'Edward Scissorhands' Avon lady Dianne Wiest...simply beautiful) and will be a terrible grandfather to a standout Taissa Farmiga (Vera's 'Conjuring' sister and new 'Nun' star) if he doesn't clean up his act. An act that sees him Wild West mix it up with the '187' likes of 'Westworld' character actor great Clifton Collins Jr. And the man with the golden shotgun, the 'Untouchable' legend Andy Garcia, having the yellow tinted shades, mob-fun of his life. It's an all-star cast past and future, for the century making star of stars in a city of them. Which on the Redford surface looks like Clint's joining the Jack Nicholson, Sean Connery and Gene Hackman retirement ranks, fat lady song. But I don't hear any swans. I just hear him singing along to the Willie Nelson radio soundtrack of 'On The Road Again', as he collects more vintage postcards to adorn his adored grandaughters fridge like magnets. Looks like this man more interested in working-like his character who love planting flowers more than sleeping with them-is locked and loaded for another run. And what a ride it will be. TIM DAVID HARVEY.

Further Filming: 'Gran Torino', 'American Sniper', 'The Old Man And The Gun'.

REVIEW: GLASS

4/5

Breakable?

129 Mins. Starring: James McAvoy, Bruce Willis, Anya Taylor-Joy, Spencer Treat Clarke, Charlayne Woodard, Sarah Paulson & Samuel L. Jackson. Director: M. Night Shyamalan.

Break this! 'Unbreakable' had its cracks (whey!). 'Split' left me divided (ooh-rah!). But 'Glass' is a smash (okay, the puns stop here!). It's been almost 20 years. 20 years since this writer saw 'Unbreakable' the one and only time and sniggered at the today Ken Jeong in 'Community' gif ready, "they called me Mr. Glass" line? Almost two decades of the 120 movie, 13 billion dollar man Samuel L. Jackson shouting, "yo, when we making that sequel motherf#####" at twist master M. Night Shyamalan, everytime they crossed paths at the Universal Studios lot. 19 years after he played the brittle bone, wheelchair bound, comic-book obsessed collector of superheroes. Who actually did just that for Stan Lee as he has assembled over 10 Marvel films and counting for his S.H.I.E.L.D. Avengers dossier. And now it's here, first name Mr. Last name...'Glass'. And the signs are all there too. As after being stuck in 'The Village' and 'After Earth' (actually good) purgatory, and then losing himself in the static tube of the small screen 'Twin Peaks' wonder of 'Wayward Pines'. M. Night reunites with 'Sixth Sense' legend Bruce Willis to oversee more than dead people with the epic and emotional end, concluding the terrific Eastrail 177 tragedy trilogy off the tracks. End of the line kid. But it was only two years ago at the end of a local diners bar, being poured coffee at the end of James McAvoy's maddening 'Split' personality powerhouse performance that we saw the Easter Egg catalyst to all of this in the form of Bruce Willis sitting at the end. But now coming to a head with this big-three in place, sitting down in evaluation front of us for this trilogy and superhero storytelling mastermind Shyamalan, this is it.

'Death Wish'? Nah more like 'Die Harder'. Because we see John McLane as a superhero too, like we see his first string-vest outing as a Christmas movie as well. It's not just Professor Xavier and Nick Fury switching wheels as they push each other round the halls of this psych ward here. The boss Bruce is back. And one of the hardest working hard-men in Hollywood shows us he can still bend steel like the fickle will of those who thinks Willis is done. Beside why bet against a hero whose only kryptonite is water? Besides he's got a poncho. It's time to get out the shallow end. Because The Overseer is coming into the light. And the aged, wise and weary conflicted character is back, in all his niched nuances. But it isn't just the 'Pulp Fiction' of 'Vengeance' co-star Samuel L. Jackson pulling all the strings again. But boy does he pull them. As Jackson's purple reign and ruffles of the Einstein afro haired M.G. is far from over. No matter how you try and medicate his mastermind. With an X cerebro this man has the brittle knack of bringing great super powers together, with his responsibility a long time 'Far From Home' this Summer. This character may have broken almost 95 bones. But this actor has broken the box office over a century of times. So don't be skeletal when it comes to the body of his work. Do not underestimate what 'Glass' can do with the reflection of the underrated Jackson. At 70, Samuel L. has been waiting most of the rest of his life for this. And he makes it worth all the years. Happy Birthday mother######!

Pink surrounds the shades of green, yellow and purple as 'American Horror Story' and 'The People Vs OJ Simpson' winning actor Sarah Paulson (who 'Oceans 8' recently reunited with Sandra Bullock to be the emotional catalyst to the meme hype of the social media breaking 'Bird Box' revolution. Seriously you really do need a blindfold to avoid all those spoilers) almost steals the show as the doc mediating and medicating all of this to whose effect? That is if it wasn't for antihero prolific performance of personalities and people from James McAvoy. He has hordes of talent. Splitting the credits of names yet again, you've never seen a henched up James McAvoy like this before when he goes into full hand running and climbing unleashed, Beast mode. Even more than his last mind meld. The P, B and J Patricia (did it...if you want to talk about memes), the Kevin we need to talk to, the guy that seems to not like doing laundry with a great smile, the kid on "rollerschates" with the lisp and so much more etcetera. They all show like an inspired flashbulb flick through even more traits, that show just how definitive an amazing actor James McAvoy really is in all these defining disassociative traits living in his acting head. He's the reason this brain teaser keeps turning through the comic-book pages and how a solo hero turned from a forgotten franchise to a formidable one just two years after the time it takes 9 year olds to become adults with 9 year olds of their own. But Willis, Jackson and McAvoy aren't the only big-three collected in collaboration here. They all need their muse, mother, son, or frenemy. There's Tony Award winning, 'Aint Misbehavin'' veteran Charlayne Woodard (actually five years younger than Jackson). 'Agents Of S.H.I.E.L.D.' and 'Unbreakable' child star Spencer Treat Clarke (major deserved screen time), all grown up and back with Bruce. And 'New Mutants' standout Anya Taylor-Joy who has been the emotional core of these last two thrillers. But it's the Stan Lee cameoing M. Night Shyamalan who brings all these creepy front door horrors and real world superhero smarts together, shard by shattered shard for his most definitive direction after his senses were dialled to six yet. Eliciting and evoking every emotion, even sympathy for some of these devil villains. Giving a psychological edge to today's power pedestal, grandeur delusional thoughts of other worldy beings hiding in ordinary, cast out citizens something to provoke though about. This is not a cartoon. This is the real world. But still there is more than a cape length worth of room for another superhero saga, timeline chronicle between all that Marvel and DC. Reading in-between the cells of a Dark Knight generation looking for the spangles of the stars and stripes of a real Captain America. Don't believe the critics. We have another case of 'Batman v Superman-Dawn Of (In)Justice'. Time will tell this to be one of today's greats directorial best. This isn't just a homage to the original graphic novel nerds with the comic-book guy from 'The Simpsons' obsessed 'Glass'. This is so much more for the geek generation to really see how comic books almost have a sacred text treatment to them. And those hoping for that King Kong thumping and roaring showdown on the digital Osaka Tower (the real one in Japan "Inspires The Next") skyline of a new Philadelphia Zoo, how about a different animal? Something with more meaning! Then you'll be actually saying, "BEST. Ending. Ever" as this all comes to a comic chapter concluding close of heart...and soul. After a taught 'Unbreakable' and a tight 'Split', the hybrid dual sequel 'Glass' puts all the pieces together to make it all whole. TIM DAVID HARVEY.

Further Filming: 'Split', 'Unbreakable', 'The Sixth Sense'.

T.V. REVIEW: THE PUNISHER Season 2

4/5

War & Piece.

13 Episodes. Starring: Jon Bernthal, Ben Barnes, Amber Rose Revah, Jason R. Moore, Josh Stewart, Floriana Lima, Giorgia Whigham, Alexa Davalos, Royce Johnson & Deborah Ann Woll.

It's gone! Frank Castle's Punisher just pulled his best magic trick out the 'Dark Knight' Joker hat and made that knife stuck into the end of the bar disappear. And yep...he did it using some guys face. Now how's that for a bar fight? How's that for a dark night? BANG! Bathed in blood like he was washing his face with his victims, The Punisher is not Hulk angry. He's f###### furious! And why wouldn't he be? When everyone is talking about him getting cancelled like red before he even gets to reload with his second clip. But like he says he's not the one that dies kid. He's the one that does the killing. And Castle uptop his shell and casing throne is making one now. Loading up the battle van in a no parking zone, forget pistol-whipped. Everyone's about to get sawn off shotgun slapped. As the outstanding opening episode to Castle's epic second killing season is not just killer, but in no ways is it filler. Taking in these Doors 'Roadhouse Blues' whilst watching country strong Shooter Jennings shoot for the 'Luke Cage' rivalling musical performance cameos with a cold one. Lonesome nursing a classic American watering hole bordered by cheap, porch light lonely motels and the highway were these road warriors run away from it all. This seasoned, more mature, scope focused second starts with the most beautiful love story with eyes are the soul, season standout Alexa Davalos ('The Man In The High Castle', 'The Chronicles Of Riddick', 'Defiance') over a few beers, followed by the most violent bloodbath of a bar fight. In heart and the arms that hold both that and the war that comes after love, Jon Bernthal is true grit personified in this 'Sweet Virginia', 'Wind River' of a neo western set in the smashed pool table overhead neon lights of a bar somewhere in Michigan full of wolverines...and we aren't talking about Hugh Jackman or the Fab Five. But this x-rated episode is so fantastic man we could write this whole piece about it. Just like the formidable firefight of the 'Assault On Precient 13' like epic episode. And if it wasn't 1am at the time of watching and this writer hasn't just come back from a long trip to the city then I would have binge drinking the whole series right there with a Bud. But the truck rolls on.

Reloading on this fury road, this Mad Max to be Frank is forlorn, but a formidable force. Most heroes when they hit the bad guys they get back up, but when this antihero hits them they STAY down. It's permanent. Just like Jon Bernthal will always be The Punisher, skull or crossbones. Ever since his one batch introduction to the 'Daredevil' of Hells Kitchen, like his "I am Iron Man" like courtroom declaration. After he went all Parabellum on a bunch of Irishmen after they were about to 'John Wick' his dog. And from the valley of violence that was the War Zone of his first blood season, here comes your second batch, chapter 2. And everyone's got a marker on them. Everyone wants a piece of this hit. Just wait until you put this puzzle back together. And just wait until you get to all the blue pieces. Because a seasoned vet now, Bernthal has stormed Castle's psychological walls to be Frank. This is the sames man who made the hours long walk to the 'Daredevil' set across the Brooklyn Bridge with a weighted bag as passersby shouted for him to not "f### this up". Well crossing the bridge he really hasn't. The 'Fury' of the same passion project actor who couldn't meet his newborn son until months after completing the encaged tank drama in Brad Pitt's World War. Growling in the pain he suffers and in turn doles out by the barrel, Jon is the don. The one. Right down to the last bullet in an empty clip. Showing all the chambers of this burnt souls heart. The love and loss. The beauty and the betrayal. The confliction and the conviction. Knowing that sometimes to do the right thing, you have to do much worse. Prison cell or hearse. We see heart here. Like when he falls for a new love he makes in a motel whilst wearing his wedding ring round his neck, like a soldier does dog tags for his fallen brother. Massaging his new partners shoulder with his middle finger and the base of his palm like he also does in the trailers of 'Wind River'. Must be a dear Jon nuanced trait ladies. And nothing gets more heartfelt and honest than this actors humanity. He doesn't just pay homage to his iconic characters, he gives them his life. Because behind that thumping beat of his heart is the tick tock of a time bomb ready to click clack. Because no crime, penny and dime goes without it's punishment. He even juices up some gym heads, cancelling all their memberships. And there's no Murdock now for the gavel to drop. Just the hangman's noose and the assassin's target.

Castle ragdoll launches a young lady over the watering hole moat that is the bar, whilst automatic gunfire takes out all the green bottles behind it like sixties gangster Tommy guns. That young actress being '13 Reasons Why' star Giorgia Whigham (yep daughter of character actor great Shea. But her own star). With cocky confidence hiding an aggravated anxiety in character giving us even more reasons why she's one of the next great talents out there. Someone told Castle "we're all lonely. All life is is trying not to be". So it's a good job Frank is in good company here. He's going to need all the help he can get going up against 'Dark Knight Rises' and 'Third Watch' star Josh Stewart's Catholic priest villain ready to give you last rights by his own headlocking hands under his sinister stetson. And of course the fragments of his former friend Billy Russo. Masked by his Jigsaw villain, hidden behind a 'Dark Knight' thieves theme mask and some toned down facial scars in-keeping with the new rules on that subject since the ruling on iconic inspirations like Heath Ledger's Joker. 'Westworld' star Barnes is a fair few strokes away from the attic of his portrait of 'Dorian Gray', but the scars show the real monster being unleashed after his Castle carousel crucifixion. And hospital bed flanked by a mysterious character in 'Supergirl' star Floriana Lima, there is more here than meets the eye. But of course Frank has his own agent of support in last season's 'From Paris With Love' standout Amber Rose Revah given even more script paperwork to work with here. And of course with most of his marine core gone or deserted Castle still has the chairs in the circle group counsel of veteran Jason R. Moore, who one batch to two has been the soul of this series. But it's 'Daredevil' and 'Defenders' star Deborah Ann Woll who like detective Royce Johnson, or Netflix 'Mudbound' and Defender sub-series veteran Rob Morgan deserves this year's Rosario Dawson award for Marvel's Netflix's most versatile, crossover actor. The 'Escape Room' actress like with the devil gives this killer it's heart and it's moral compass center. You know who said that thing about loneliness right? And if this really is it it won't be the same without her. Or the man-with all due respect to Dolph and the tremendous Thomas Jane and the 'Predator' actors ice lolly trick-who is the bones of Castle's skull in this Metallica heavy metal series, bludgeoned by brutality. One that as the warm and welcoming in real life Bernthal says on Kimmel, "resonates deeply with the military and law enforcement community". Still anyday they say Netflix could pull the trigger on 'The Punisher'. But we really hope this isn't the end of days for the high calibre, Netflix nuanced narratives for Marvel. Either way this fighter won't die on its knees. TIM DAVID HARVEY.

Further Filming: 'Daredevil', 'Luke Cage', 'Iron Fist' (Save Them!)

REVIEW: BUMBLEBEE

4/5

Bee Movie.

114 Mins. Starring: Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., Dylan O'Brien, Justin Theroux, Angelea Basset, Peter Cullen & John Ortiz. Director: Travis Knight.

Bumble young bee, bumble! The nuts and bolts of the 'Transformer' franchise has really transformed now. A welcome change from the Michael Bay pig-headed direction of explosions by every sunset in epic, overexposed slow motion. Not to insult, I only want to spread love with what I write...genuinely. Which reading reviews will probably tell you I'm in the wrong game (and yep I kind of give everything either a 4 or 3.5 out of 5, I'll admit it). But I want to celebrate cinema, especially in this streaming age of Netflix and chill at home on your own. The beauty, the romance. Just like your date of driving out to the big screen when the lights go down is so much better than being stuck on the sofa, glued to your phone. And every film from big blockbusters to indie darlings, no matter the prize or misfire (hello 'Dawn Of' critical injustice) have something about them that make them special. Otherwise they would have never left the studio lot. It's like what Tom Hanks (no stranger to thick and thin as the Hollywood star with the thickest famous filmography) said about your favourite bands and even when they release a bad album, you can still see their heart in there (I think he was trying to explain 'Larry Crowne' and 'Cloud Atlas'...but God help anyone trying to explain that...still liked it though. C'mon it's me). Even the let's still be thankful turkeys at Christmas have their trimmings and those being buried in the dry heave of January sometimes garner hidden treasure. Especially come Oscar bid season, or all the fall favourites you want to catch up with after that hectic end of the calender on New Year's. But I digress, because sometimes s### is just, well...s###. And after his homage to Hasbro with the first terrific 'Transformers' film, Michael Bay suffered an 'Armageddon' of a sophomore slump. Before the most exciting blockbuster buster in Hollywood ended the Shia LaBeouf trilogy on an excited skyscraper splitting high note, with the enthused energy of his scene stealing and all singing 'Fast and Furious' footsoldier Tyrese Gibson. But after all that came more and a little too much despite the addition of Hollywood heavyweight Mark Wahlberg as Shia had surely had enough. After the cash, bang and wallop, white noise and prolific and perplexing product placement of the first of these mad movies dulled every sense, I gave it a pretty bad review saying something like, "my childhood had been ruined" or similar to that nature. Too much? Probably. But looks who's talking! As for the last one. I didn't even see it. Can't even remember its name. So what does that tell you? But forgive my ignorance I will take blame now, as it almost had the same effect here for a man who was more excited about the 'Bad Boys For Life' Will Smith and Martin Lawrence reunion when he found out Bay wasn't helming it (O.K. this looks too much like hate talk now. He's actually a great director with a lot of skill. But let's say sometimes he should just reign it in...just a little. But no 'Pain & Gain' right?!). Because after my words were stung by the perfect surprise left under the tree that is 'Bumblebee', this Transformer who uses famous quotes for words has left me saying, I'm buzzing.

1987. Now children of Optimus Prime to save our "ruined" childhoods we have to take it back to our collective, 80's baby childhoods, like our 'Back To The Future' faded pictures in this selfie age of millennials. Because our "Great Scott", Doc Brown here with the Lakers canary coloured car of tomorrow, Travis Knight (no not the former NBA back-up big man, but the master rapper behind the 'Kubo And Two Strings' classic) is taking us back to the drive of the residence on 'E.T.' street. All for a Spielbergian story that phones the same home of that and the time Vin Diesel's rust and gravel 'Iron Giant' superhero before the Stark Marvel told us he'd go whilst we stay. Because behind honeycomb vision and a nest of intricate mechanisms we can finally CGI see in all their detailed, blueprint changing design, for formidable fight were we can actually see the fists. And no longer transforming into a Beats Pill or what for some reason counts as a script. One 'Indiana Jones' boulder chasing moment sees two bots rocking and rolling, whilst our hero runs from a melee that is as awe-inspiring cinematic as it is convincingly realistic. Behind all those scraps of metal is a beating heart for a beautiful, throwback story of epic escapism of every emotion, showing that some superheroes wear car door wings instead of capes. The perfect slept on Christmas movie to wake up the New Year blues right there with Disney's joyful of sugar in 'Marry Poppins Returns' and the DC Comics 'Aquaman' they all thought would sink, but instead swam to a billion box office with a trident triumph. And tenderly touching to the open palms, never has the connection between human and CGI robot looked, or more important felt to tear jerking real, no longer blockbuster raw. This is really something. Something special. All the way to the detailed facial expressions of an android who can evoke expression in the electric blue eyes of its soul core. Eliciting more "awws" than dentists asking you to "open wide". Now that's real Hasbro heart for a perfect kids movie that educates lessons of life and loss and teaches us to do more than just blow s### up. There's nothing mechanical here. In this digital age this instant vintage, retro like an old Casio, couldn't be more human.

Nuanced in nostalgia just as much this thing, 'It' is just as aesthetic atmospheric as those kids world in 'Stranger Things'. In this small town across the California gate of the gap bridged by San Francisco to the golden era of movies and music. From the basement to the garage as 80's set as the 'Breakfast Club' of radio alarm clocks that shoot up like the Pop Tarts out the toaster. As the heart of this movie wakes up this testament time with modern traditional tribute. From drumming along to The Smiths with a toothbrush between spits whilst rocking and Elvis Costello and The Attractions band tee. To the soundtrack you're about to Sam Cooke Spotify, but you should save for vinyl. Or all those vintage cassettes flipped through and tape deck popped in (you know this writer who considers Aussie rock God Michael Hutchence a real hero was full of heart when he saw this movie 'Kick' it with a mystifying INXS classic that Side A to B will 'Never Tear Us Apart', even if we lived for over a thousand years). Taking all this on A-Ha to Bon Jovi the only thing that will be given up is the chance to be Rick rolled here to hilarious, "we ain't ready for that yet" effect. As this submarine yellow Beetle to Bee origin story that Easter Egg cracks open so many hidden truths, previously voiced by 'Maze Runner's Dylan O'Brien with a heroes heart (slick Justin Theroux, legend Angela Bassett and of course as always Peter Cullen provide the other robotic voices) tunes into many a classic to communicate what he's trying to say to heart warming, hair standing on end, fuzzy feeling effect. And just wait until he takes a "watch that vase", classic extraterrestrial honouring tour around a house to rival the one Macaulay Culkin brought back for Christmas 'Home Alone'. Google it. We have no idea how lucky we think we actually are these days. But through all the Hollywood moments of entertainment history and a game cast. Featuring a 'Trainwreck' hilarious scene wrestler, who rock armed up and built like a Humvee wants in on the action in John Cena. Who see it to believe is so ready for this type of Josh Duhamel, military grade movie stardom I want to exclaim his name on a Vine whilst shoving two flutes up my nose. Plus character actor great John Ortiz back in the lab and the kid from 'Love Simon' and 'Spider-Man: Homecoming', Jorge Lendeborg Jr. fondly showing us that John Hughes young love, genuine awkwardness. It's Hailee Steinfeld that is so sensational, yet so underrated that she makes us believe and more importantly love it all. Mesmerising and moving. From the very first connected meeting of shy and insecure minds under the hood. "The driver doesn't pick the car, the car picks the driver". And sometimes the movie doesn't pick the star. The star picks her own one born. And it's that mystical bond between woman and machine that wins our heart. Steinfeld always displaying great poise and 'True Grit' since her child star days were she was robbed of the Oscar is all grown up now to the point you forget it's the same person and amazing character disappearing actress. This singing star is 'Pitch Perfect'. Aca-YES! And with this comic-book one shot being the most outstanding, best autobot yet, it's almost a shame we won't get to see this Bee and butterfly blooming actor sting the critics again. But then again just like 'E.T.' why revisit or reboot something so perfect (do NOT phone home again in CGI Hollywood...ever)? There is no way they could remake something that's just remade a whole franchise from the storytelling toy chest. Now back light-years ahead of its time, how's that for buzz? TIM DAVID HARVEY.

Further Filming: 'Transformers', 'ET', 'The Iron Giant'.

REVIEW: THE FAVOURITE

4/5

Lay The Favourite.

120 Mins. Starring: Olivia Colman, Emma Stone, Rachel Weisz, Mark Gatiss, Joe Alwyn & Nicholas Hoult. Director: Yorgos Lanthimos.

F### favouritism! By royal depravity there are games afoot regarding 'The Favourite'. And playing us all in that regard, Yorgos Lanthimos deserves this. The director of his own dynamic has already changed the moviemaking game and our warped minds with a couple of Colin Farrell classics. First scuttling around with 'The Lobster' and today's APPlied attitudes to date and swipe right mate selection in the modern worlds view of real love versus reality, were anything else or even the singled out demonising nature of isolated solitude feels animalistic. And then last year came the eye for an eye, family sacrafice of biblical proportions and implications in 'The Killing Of A Sacred Deer'. Lanthimos' most legendary, yet unheralded picture portrait yet. But now the red carpet has been rolled out for a knighted Yorgos and the crowning awaits with this sacred dear. The director is about to make a killing like he was boiling lobsters. Mixing and manipulating a cauldron concoction of lustful love and brooding betrayal in a royal house of lies and deception. Were cold chivalry like parliament wigs and make up disguises the real ulterior motives of corruption and wants and desires in a place of petulance. In a monarch of individuals old enough to wear the roses of jewels, but seem more intent on twirling a crown circling a game of thorns. Bawdy, ballsy and bloody brilliant, Yorgos with wicked delight let's all this play were the pieces may fall in this loves game of chess, but still gives us some checkmate lessons to learn that will make our very ways of this world bleed if we don't pay heed. A royal distinction worthy of an Oscar, yet there is more under that gown as you bow. From garter to all the heel to bedpost string tightened corset tries to hide in vain. And this period costume drama mirrors a dressed up today that see us hiding behind our screens and feeds with what we say, mean and feel. But this is one timeline you can favourite.

'The Crown' of Netflix's most prestigious streaming show has been passed from the 'Spiders Web' of 'First Man' star Claire Foy to the outstanding Critics Choice and we're sure more Best Actress awards winner here, Olivia Colman. And in reuniting with both 'The Lobster' and the throne, from Lizzy to the madness of Queen Anne, she has the coronation experience of these crown jewels down. Usurping everything here with her wonder and true wit that isn't for the halfs and half nots. After already playing Queen Elizabeth years ago on 'Hyde Park On The Hudson'. Not to mention Carol Thatcher next to the legend of Meryl Streep in 'The Iron Lady'. Surely the amazing actress who is about to move from the small screen of the best of British 'Broadchurch' and 'The Night Manager' to the big silver one like the reverse of the BBC's latest 'Les Miserables' adaptation isn't far from being knighted in more ways than one. Bringing with brutual and bountiful belief the two sides in life and its stories of comedy and tragedy amongst all the faces in this made up, but historical account of dramedy (watching her chew out the servants when she gets taken down a peg is service to hilarity ensuing). As everyone tries to play her like a fiddle in the corner of her art decorated and gold room of abundance and emptiness, she has more than one scheme out for herself. And it's as sore and needing as the gout that has stubbed her and left her wheelchair pushed or bed bound. The latter and the "soothing" that comes with it being her preferred pram to throw the toys out of when she or her waterworks can't get her own way. She will have her cake and threw it up too. All this hissing and fainting fits when everyone is waiting for her deciding rule longer than people waiting on May or even later in this year than that month to see what is happening with Brexit. And just like hiding behind the "right honourable" cheers and jeers of Prime Ministers questions, everyone behind these fake drills and facades here in more ways than one are at it like the seventeen (wait 'till you heartbreakingly find out why) rabbits that roam these haunted halls like looking for carrot's by candlelight. 

Cousins to the affections of the throne in these affairs of state is the period presence of 'My Cousin Rachel's Weisz and 'La La Land' Oscar stepper Emma Stone, serving for more gold like she did in last year's criminally underrated 'Battle Of The Sexes' as the equally Venus sister legendary Billie Jean King. Deuce. Anyone for more than tennis here? No balls please! Because this is the war of the fairer sex here and even with canons raging on the frontlines of decision time, there is so much more being breached beyond the closeted chambers of this bedroom as the men of this mansion fret. Like the Mycroft mind craft of 'Sherlock's' brother himself Mark Gatiss. The 'Long Halftime Walk' with blue balls of 'Billy Flynn' star Joe Alwyn. And a standout-even more than the regalia-Nicholas Hoult, trying to out put a halt to proceedings like he tries to 'Mad Max' ashy crazy steal the show if you want to talk about a boy with a beast of a performance. Yet out on the range with Stone and Weisz shooting birds, these musket muzzle, blunderbuss blasting standoff scenes are true firecrackers to show the brimstone and fireworks that lie beneath the eyes of fire that dart from desire to the hate of scarlet letters thrown to the fireplace. Living on her lap, through Yorgos fish eye lens at first it looks like these love triangle rivals are beck and call obediently answering to every cry from someone Tom Hiddleston's God of Mischief Loki would term a "mewling quim" (still amazing he got away with that one in a Disney movie). And as an aside I've never heard funnier usages of the phrase "C U Next Tuesday"...and I'm a 'Curb Your Enthusiasm' aficionado. But in all veiled reality, with their own agenda these lovers in there own demand are playing games of their own destiny manifest making. Emma is stone cold in her 'All About Eve' rise from the mud of a fall from grace and carriage, to the saddle of the highest horse she rides away on. One that may gallop to her next reward for her most niche and nuanced performance of the human condition and all its afflicting side effects yet. But in this women of wonder big-three that concludes Lanthimos legacy making holy trinity of best pictures, it's the razor sharp 'Disobedeience' of Rachel Weisz who wows and steals it all show and curtain. From the care of counsel to the revenge of a scoundrel, pirate patch and revolution scar seal ready and high-tailed dressed to the outstanding occasion of an obtuse conclusion to this duck race. One that really quack covers all bases of the sacrafices sought and the manipulations made in the strive for a stand of a better love and life for better, or oh so much more worse. Hilarious, heartbreaking and breakdancing(?) all to crazy chapters of letter opener dagger scoring strings, you've never had a favourite movie as wickedly f##### up and weird (save choosing lobsters and hunting deer) as this. What the frock! TIM DAVID HARVEY.

Further Filming: 'Mary Queen Of Scots', 'The Lobster', 'The Beguiled'.

REVIEW: MARY POPPINS RETURNS

4/5

She's Mary Poppins Y'all.

130 Mins. Starring: Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Dick Van Dyke, Angela Lansbury, Colin Firth & Meryl Streep. Director: Rob Marshall.

Supercalifragilisticexpialidocious. Sugar, there's more than a spoonful of pure joy and Disney magic under this umbrella. And if you don't think a redefining Emily Blunt is THE Mary Poppins in 'Returns' then pish posh. Let's go fly a kite, because coming in on that paper crane bird here she is. "Winds in the east, there's a mist coming in, like something is brewing, about to begin." And to Big Ben chime the end of her best year from foggy London town, in reuniting with the Mickey Mouse franchise and her own "cousin" from 'Into The Woods', Blunt booms after she and her acting/directing partner John Krasinski (your 'Jack Ryan's from 'The Office' and the primetime of Amazon streams) made horror noise with the genre rejuvenating revolution of 'A Quiet Place'. We're still not crying after their headphone 'Harvest' dance with a bump to Neil Young. You're crying. So much so rumor has it that Emily and her dear John will trip as Marvel's Mr. and Mrs. Fantastic. Third time will be the charm for 'Four'. But coming in with a fall leave storm you won't want to see this possible Susan disappear as her powers here are more than the persuasion of invisibility. Blunt both homage honours Julie Andrews' legendary Poppins, all whilst having her own pop at the marvellous Mrs. Mary legacy. So either way this leading lady and Hollywood light from Great Britain is a Marvel and next generation, timeless decades to come Disney icon like the palace perfect castle everyone wants their moment under. As Blunt blossoms under its Cherry Tree Lane cobble pavement in her most iconic and signature role she will be known for yet. Blooming lovely with the Big Smoke's legendary Tower Bridge drawing in the definitive distance. And in 'The Greatest Showman' age of epic escapism, musical masterpieces to turn the calendar after Christmas this one doesn't even have to go to 'La La Land' to find it's city of stars. This reboot sequel of sorts of a tale as old as time is even better than Emma Watson's Belle of the ball in the 'Beauty and the Beast' remake in the live action era of Disney that is set to have its biggest year and best Summer yet with the real 'Lion King' and 'Aladdin', Will Smith genie in the bottle coming out in the same season. As 'Annie' director Rob Marshall and the man from 'Hamilton' join Blunt for non-judgemental jovial pleasures to resolute any pain in a joyless January. Reminding me of the time I took my mum to see Pixar's 'Up' and behind laughing at her in those Roy Orbison 3D glasses I was moved by the sweet smile on her face. The whole thing will just make you beam. Now how's that for some medicine to go down?

Happy tears of joy will be shed with this Mary Queen of Disney. Believe that. Even from this has been thirty-something writer lost for words. Beautiful big blockbuster movies like this especially from the Disney stable of traditional staples are supposed to evoke every emotion and boy do they. Between Netflix views and the New Year blues this movie mad, popcorn buff trapped in 'A Quiet Place' rivalling 'Bird Box' hadn't taken seat in those tilted red bleachers since DC told me to go fish. That for me may as well be an eternity, like those people who were last in theatres when the previous 'Star Wars' trilogy was. Pod Racing! No thanks Ja Jaa! It's safe to say I needed this one in all its tugging at the heart strings like your kids do at your coattails to take you to this Winters 'Frozen' yet again. Swimming against the cinema-less current with the billion served 'Aquaman' who is blowing bubbles at all the hate. Like this does with love, bubble bathing with dolphins in a frothing concoction potion before diving into Momoa's massive, mesmerising world of Atlantis. And all this is brolly brought to you by nostalgia evoking effects that are so much more than just special. CGI takes a brief break here for something so much more animated. Taking a carriage back to the porcelain plate perfect original without so much as a smudge. Bowled over, Roger Rabbit's eyes would rocket pop out of his falling anvil jaw like he just saw Jessica Rabbit for the first time. Because this red bonnet head gives Disney it's most vivid visual of instant vintage, classic cinema, movie world wonderment since the 'Legacy' of the 80's cartridge dusting off and rebooting 'Tron' remake sequel. Like this of sorts that carries on tradition but heels its own path under a perfect parasol. And oh how the musical numbers sing in this hymn sheet, script flipping ode. In all its educational and motivational sugar medicine for those mouths in need of a spoon. As 'The Girl On The Train' from the underground adaptor teaches us never to judge a book by it's cover and reassures us that not everything gone is lost. Blunt's beauty of genuine spirit and life vitality soars with the scales of these stanzas as she too really sings in more ways than one. Stepping out with a baby of classic choreography that over the candy colours of K-Pop moves in percent unison time like the Seoul music heart of BTS. But here standing in a blue pea coat, holding a deeper handbag than your girlfriends, with a 'Fantastic Beasts' worth of tricks and a talking umbrella flipped under her arm with sass is your real idol that unashamedly loves herself. And why not?

Saccharine sweet there's even more under this canopy for the wonderment of three child stars of the future. Like the scene stealing rap God of 'Hamilton', Lin-Manuel Miranda who makes a roaring successful turn from Broadway stage to West End screen. Illuminating this like his character does the London streets by honest work, rickety ladder. This Americans accented performance is on the right key, even from the songbook as the 'Moana' songwriter becomes a superstar under a whole new spotlight in an outstanding, opening instant that gives you a tour of England's down south capital with his exclamation. It looks like 'The Greatest Showman' missed a casting call. Because this showstopper is right here, now. And question Q, what would an old story in this land of cockneys who rhyme with slang (and if you want to see something funny. YouTube the interview were two kids teach and test Manuel and Emily on some "China plate" like sayings) be without 'Paddington' under the apple and stairs? Like that furry fond film, the Peruvian bear himself is here...minus the marmalade. As a wonderful but weary worn Ben Whishaw by the fire plays a fond fatherly role of the son Poppins nannied all too real world grown up. He has a case of the Ewan McGregor Pooh 'Christopher Robin's blues. With dark shades of Colin Farrell's forlorn father figure in Emma Thompson's 'Saving Mr. Banks' take on P.L. Travers' story with icon Tom Hanks' Walt Disney himself circling around his eyes with the banking sharks, pleading as they bleed him dry for that childlike wonder of reverie. It's lucky he has the library's worth of 'Bookshop' storyteller Emily Mortimer and national treasure by the 'Mamma Mia' movie Julie Walters by the stairs of his household side. Because he's going to get no respite from the 'Kingsman' speech of Colin Firth. Furthering his Bond age rebellion by making it as a first and fun as a pencil-thin moustache sneering villain. And when it comes to Disney bringing in the big names it's doesn't get much bigger in this 'Post' age than Oscar legend Meryl Streep. Showing up in her shop to turn everything delightfully mad, topsy turvy. And if that or a tap dancing cameo from original light and still got it at 91, 'Chitty Chitty's, Bang Bang' and 'Diagnosis Murder' star Dick Van Dyke isn't enough. Then how about one from Angela Lansbury? But its not 'Murder She Wrote' as she's popping nobodies balloons for a happy helium filled finale, in a moment rumoured to originally be for Julie Walters. But with so many brilliant books from Travers to traverse and Blunt more than bound to tell them we won't have to wait a half century for another sequel chance. Just look up to the sky. You'll see her up there with her own kite and not like that 'Simpsons' skit. Delight by lamplight, this really does trip the light fantastic. Practically perfect in you know how many ways. Off we go! TIM DAVID HARVEY.

Further Filming: 'Mary Poppins (1964)', 'Beauty and the Beast (2017)', 'Saving Mr. Banks'.

REVIEW: OUTLAW KING

4/5

King Kirk.

121 Mins. Starring: Chris Pine, Aaron Taylor-Johnson, Florence Pugh, Billy Howle, Tony Curran, Callan Mulvey & Stephen Dillane. Director: David Mackenzie.

"By these swans", Chris Pine nails an accented performance as 'Outlaw King' and it's opening one shot is outstanding. Through the forlorn fog of Winter, reuniting with the fire and brimstone of 2016's best 'Hell Or High Water' director David Mackenzie, Pine takes it to the forest for a guerilla fight that thick like thieves is all mud and mead. Mackenzie confirms himself as a maverick, dynamite director with an outlandish, opening one-shot camera trend technique that traverses canopy's and a catapult that really gets up close and throws everything at you as hot as magma. All punctuated by a powerful sword fight of grit and gravitas and dynamics of duelling drama straight out of Shakespeare's Globe Theatre, far flung from those wooden sword fights you had as kids. As Pine's King bobs and weaves like the bee with butterfly wings Ali, switches feet like LeBron James in his Kings court and then batters some young pretenders sword twice like Kong swatting a bi-plane uptop the Empire State you feel sorry for the blade...not to mention the man who forged it from iron and stone. And that's just the preface. Just wait until the final chapter of this historical text chain mails you to a bloody battle (pardon me for swearing) of 'Gladiator' arena in the killing fields of 'Robin Hood' proportions. Thumbs up! Sure we're late to battle on this one. But right before young royals Saorise Ronan and Margot Robbie are about to duke it out on the Oscar worthy 'Mary Queen Of Scots' it's time you stream this Netflix sleeper too. Its time to watch this game of thrones and crown it.

Bravehearts may even see this as a spiritual sequel to the 90's Mel Gibson classic that took our lives but gave us freedom. But save an apocalypse cancelling, stirring speech that won't go quietly into the night and even a "never take our" Easter reference for us storybook eggheads, this 'Outlaw' is a different animal. As a matter of fact the only glimpse we see of the great Scot William Wallace is in the remains of his dismembered, hung, draw and quartered arm in a truly harrowing and haunting moment that is the caustic, cautionary catalyst that this means war turns this movies moment into a classic. The sinister score scales up as does the acting. As this is Robert The Bruce's story. And a 100 percent perfect Pine personified makes this and himself worthy as Robert. All the way down to the grown out hair and beard, in no ways muffling a grown up accent, never growled but ingrained. Anyone about to claim Americana washing will have no need to take their hands to water as Chris is as boss a Bruce as Springsteen. Ditching the Kirk blonde and blue of his epic, new civilisation 'Star Trek' trilogy (they really dropping this?) as this underrated like his storied 'Jack Ryan' leading light of Leo star signs (the true rescue of 'The Finest Hours' is amongst Pine's finest work) goes from the Captains chair to the throne of a King. Unstoppable even when you're pining for him, truly baring it all and making a naked stand in an ignorant industry that had exposed young women in Hollywood for far too long. Just like when he politely and poignantly rejects his marriage high ritual until his betrothed is ready. A moving moment that will resonate well with people as they sleep. Set phasers and swords to stun as horses run. Ten years ago (can you believe that), Chris Pine redefined William Shatner's James T. Kirk in a swagger, showstopping and stealing, enthused energy personified leather on motorcycle of tomorrow entrance to J.J. Abrams awakening force, 2009 bold blockbusting, new life classic. Now a greying decade later this knight in shining armour is battle worn and like his wisdom Pine grows like the tallest tree. Forget the funny red robe Burger King memes in one tenderly touching moment of the crown if they gave Oscars out for how humanity acts without words Chris would be knighted.

By royal decree Pine isn't the only one who kicks ass however as Kirk's warp speed (or in this 'Verse' Spider-Man's Peter Parker) runs with Quicksilver. As looking every bearded inch the Ono older John Lennon he played an age ago as a young kid in Liverpool for 'Nowhere Boy' would one day become (sequel?), Aaron Taylor-Johnson rocks. And is rolling as he slams his sword down like Arthur in reverse in a moment of defiance and definition as the man all mud and bloodshot mad eyes threatens to run away with the show like he did in an avenging 'Age Of Ultron'. You didn't see that coming? And how about a fabulous Florence Pugh? 'The Little Drummer Girl' show stealer is rolling after already making her royal name in the must-see new 'Lady Macbeth'? Here adding her power to this gritty glory of brutual beauty and the crest of family. And there really is a coat of arms going to war here. Like 'Gladiator', '13th Warrior' and 'Roots' actor Tony Curran, who was so good at punishing Frank Castle in Season 2 of 'Daredevil' (sniff...come on Netflix I know you're watching. Save it!). Or '300' strong Callan Mulvey rising, who character acted amazingly in both 'Batman V Superman: Dawn Of Justice' (don't get me started and how underrated and actually amazing this really is) and the best Marvel movie 'The Winter Soldier' before the civil war. And who better to play King Edward than the 'Hamlet' and 'Macbeth' bawdy, 'Game Of Thrones' classically trained experience of Stephen Dillane? All surrounding the sniveling of Queen Of Scots Saorise 'Chesil Beach' co-star Billy Howle who would be king if his character wasn't such a freak and geeks creep. He plays it perfectly however for the weirdest gif-able moment up the swanny as he holds the necks of two crowned, fake as f### signets with crazy eyes and swears by them. Or as my friend from work rightfully puts it looks like our town crier butcher across the road ("buy these two swans for a fiver"!). But before the soldier of fortune Steve Trevor reunites with 'Wonder Woman' Patty Jenkins before '1984' for her Black Dahlia era directed detective miniseries of L.A. confidential, 'True Detective' proportions, 'I Am The Night', Pine goes to war for Mackenzie come hell or high mud. As this now finally found and told true tale of the fight of God like kings teaches us something about out own undying conflicts, inner and outer. And in educating everyone so hammer to horse, this captain and king and all Robert The Bruce's men hurl a fireball at us. Down by outlaw. TIM DAVID HARVEY.

Further Filming: 'Braveheart', 'Mary Queen Of Scots', 'King Arthur (2016)'.

T.V. REVIEW: LUTHER Season 5

4/5

The Thin Red Tie.

4 Episodes. Starring: Idris Elba, Wunmi Mosaku, Michael Smiley, Dermot Crowley, Patrick Malahide & Ruth Wilson. Creator: Neil Cross.

"Can you breathe"? Detective Chief Inspector 'Luther' asks a fleeing suspect. After he throws him into the side of a shipping container like dropping an anchor, after an epic car chase through the dock to start Season 5 proceeded on foot. The criminal who can't outrun the long tweed coat of the law pants something breathlessly that sounds like an affirmation to the question. "Pity that"! London's biggest smoking detective replies before hauling him in the back of his Volvo police car. Did you miss the message in what he just asked? Anything for a pop against some of the racist New York City cops. Because this is London town and here that's not how it goes down. All you "Lutheran's" get ready to do the paperwork, Idris Elba is back and who needs Bond right now (although it would really shake things up to see this stirring presence as Fleming's 007)? Besides this man has played a real hero Mandela...and made music about it (there's another Madiba album on the way from Driis). This is Luther, DCI Luther. Even without a license to kill his line of duty, straight out of Kingston for his dynamite directorial debut 'Yardie' sends him from the scorching Summer to the foggy fall of starting a war in London again. The best beat cop in the biz with a Bruce Wayne closet of suits for the bats. And you thought this was a Luther Vandross biopic here and now what? WOTCHER! Because he's not the only one back on the block. Out the rabbit hole Ruth Wilson's Alice returns to this wonderland with her criminal 'Affair' going from American Showtime to the BBC for a definitive drama that belongs in the British Broadcasting Corporation's big-three alongside Cillian Murphy's flat cap gang of 'Peaky Blinders' and of elementary course, Benedict Cumberbatch's modern 'Sherlock' in your homes. And now the boy in blue is back just in time after Christmas for the ball to drop on a New Year. Bringing life back to your dry January of "new me" now what's.

Clocking what's happening here in the Great British capital like Big Ben, you'll never want to go to one of the world's most popular, populus cities London again. Let alone catch a night bus (but how about a big red Easter Egg of the 'Uprising' sequel to his 'Pacific Rim' apocalypse? Starring 'Star Wars' and 'Attack The Block' star John Boyega as his characters son). This is your stop. As 'Luther' starts back up to bring endgame to this war even if his gatekeeper didn't make it past the opening of 'Infinity'. "Tell the Spice Girls to back off as well"! This cop tells veteran stetson legend Patrick Malahide after being tazed to a chair by his gang of cardboard gangsters. Grabbing the six shooter (at times camera angle pointing it like it was Dirty Harry's magnum) and the Williams backhand return advantage of the situation you know it's on. But Posh, Ginger, Baby and the Scary Spice of those who use Harry Potter cockney greetings that sound like what Elmer Fudd says to the Roadrunner aren't the only thing this DCI has to deal with this Winter season. There's a neon hooded killer on the loose, stalking the streets and double deckers, all whilst wearing a mask straight out of that epic Joker orchestrated, bank job robbery that began Heath Ledger's 'Dark Knight' last song with a bang. And this moonlighting murderers day job will really have you scared to call and sick and ask for a doctor's note. And that roll case he's pulling...ain't because we're all going on a Summer holiday. This just might be the creepiest, most sinister evil we have ever seen in the darkest BBC crime drama in their "obsessed" season (and we've had a petrol station villain spraying something that burns worse, whilst rolling a dice to see who gets what the hammer or the gun (a water pistol actually much worse than a revolver in a crowded victim laden Victoria Station). Five really comes alive though in our Bowie obsessed hero's haunted duty to bring these horrors to justice in a day and age were we are all scared of our own shadow because we have no idea who the hell it is. Under pressure doesn't even begin.

Once the iconic eye in the Embankment skyline red, Massive Attack, 'Paradise Circus' theme of the Neil Cross created show quietly claps back our detective will need all the help he gets. In the form of brilliant beat cop Michael Smiley, head charge Dermot Crowley and a scene stealing new perfect partner in Wunmi Mosaku even for a man who would prefer to go it workong strong, silent type alone. But it's an inspired Idris whose Luther is sewing it's own legendary legacy by the seams of every series. Elba is epic, wearing this tweed suit jacket with even more swaggering distinction than the definitive tux people want to see him suit up through the periscope. The grittiness his gravitas brings to this worn and world weary series is as real as the greys creeping in on a character who has seen everything and an actor who has already done it all. Double-0 or no. And his working "relationship" with the ever evolving character and actor of Ruth Wilson is the ever combusting catalyst carried like a dripping petrol can to ensure this show remains explosive. When my dad upon watching 'Luther' for the first time at five asked if she was like John Wick. I replied, "yes if no one murderd John Wick's dog and he just went and killed everyone anyway without so much as a little yawn in reply". Think more Batman and The Joker devil dancing in the pale moonlight. Or are they part of a classic love story? Laced with jealousy, betrayal and all the rage that comes seething out of that? Even in a street leopard skin, angelic blonde wig she's literally like the devil on his shoulder as she peers up with those piercing pupils from his right one. If we hadn't already seen her talking and doing things to others we wouldn't be surprised if our caffeine and bad dreams fuelled officer was seeing things. Like she was just all in his head like 'A Beautiful Mind'. He should be so lucky in a show that is as mental as it is ugly. And so should we if we ever get to see him rise from the desk to report for duty again after this. As from Bond Street to this OBE being worthy of being knighted as the next King of the secret service, James. With 'Luther' leaving just as quickly (the four nights, four episode trend may be the perfect anticipatory, antithesis bridge between week by week and binge culture viewing) as he returned with an epic, emotionally engaged end in sight. What now? TIM DAVID HARVEY.

Further Filming: 'Sherlock', 'Peaky Blinders', 'Collateral'.