STAND-UP REVIEW: KEN JEONG-YOU COMPLETE ME, HO!

4/5

Crazy, Rich Ho.

"TOOOOODALOOOOO MOTHER######s"! Ken Jeong screams his legendary line through the MTV microphone at such a fast, emotionally charged pace with tears in his eyes as he looks like he's trying to Drake beat the musical sign for "wrap it up" on his amazing acceptance award speech for 2009's 'Best Villain', for his cult role as the iconic Mr. Chow from the classic comedy 'The Hangover'. Where his star was born alongside fellow Vegas happenings no longer staying there like Bradley Cooper and Zach Galifianakis. And let's not forget about the baby. But there's a reason behind the tears of pure joy whilst screaming that curse at people so happy to be called that like it's millennial scripture worthy of cursive. And it's not because he has to put up with everyone shouting that from their rolled up car windows (or "so long gay boys!) for the rest of his life like Dave Chappelle does, "I'm Rick James b###"! Or Matt Damon his own damn name, only slowed the hell, way down. It's all because of who he's dedicating this award to. His devoted wife Tran who was going through breast cancer surgery before the filming (and just wait until you hear how his 'Hangover' pals showed up for him the morning after filming). Crying with pride for herself and her husband, Tran overcame a miniscule 23% chance of survival to thrive to this day. Ten years later. Cancer free. Now if that isn't beautiful I don't know what is mother######s. And that's why like an R rated 'Jerry Maguire', Jeong dedicates his new show 'You Complete Me, Ho' to his wife. Shut up. Just shut up. You had us at "Ho"! You had us at "Ho".

But don't worry in this era of 'Times Up' to misogyny, this title of the comedians stand up Netflix special isn't made to offend. Even if the freak flag of Jeong is shaking his Chris Rock 'Tambourine' here (and to be fair to anyone that gets it in the neck, Ken bites back immediately at himself like any real comedian who knows the art of an actual good joke would). His wife's surname is Ho...and it turns out she shares that with plenty of Ho's in the house. Or the 'Ice House' of Los Angeles, California to be exact. The stage that set Jeong's fist foray into stand-up, and with perfect synchronicity of coincidence where his beautiful wife first saw him perform. Because tonight isn't just about the jokes as close to the bone as this former doctor used to get with his instruments (NO! Not that instrument he's famous for in 'The Hangover'. And we aren't talking about that crowbar...unless that's what you want to call it?!). Ken shows us with this equally as expected hilarious and also pleasantly surprising, hilarious and heartfelt show that this is what true stand up comedy is all about. Storytelling with heart...and Ho's. And just you wait until you get to the real reason and story behind the title (like the fact that Dr. Jeong reveals the invaluable medical information that the beat of the Bee Gees song 'Staying Alive' actually does that. Showing how you should measure compressions when performing CPR. I mean how amazing is that?! Best hidden message in a song since Stevie Wonder's 'Happy Birthday!') as Jeong takes us to the pure essence and heart of this rib-tickling but forever underrated art form. What are we talking about Willis? Just watch. Because if we were to spoil a single gag or reflective story of movie and family nostalgia then we really would be as cold as ice. But put it this way the man with the foulest gesture in Hollywood that still somehow evokes cheers (and kind of poor choice of words from audience members asking for Jeong to, "Do Me! Do Me!"), is giving it to you here with so much heart. Chow on that!

HA! Now if we where to complete his line as almost Vine iconic as his 'Hangover' ones from behind the school desk we may get in trouble like pronouncing our name wrong to a Key substitute teacher. But the man who started a 'Community' of GIF responses on social media to practically every post you put up is really building another one with this intimate and epic tour dear force for the streaming service that has so many original films and shows to binge. But 'You' can bet that after Academy favourite 'Roma' this is the award worthy film to watch. After Chappelle's 'Equanimity' the Grammy's better start polishing those gold microphones for the next spoken word album for a man who is just as controversial and able to somehow get away with it in this age, thanks to his genuine spirit and forthright intentions like Dave (I mean who else can joke about 'House Of Cards' and Kevin Spacey...on Netflix?! Weeks after 'Star Trek-Discovery' aired along with the big revelation. Still, 'Mute Spacey'. And bravo to Anthony Rapp. A true hero!). Because one of the most recognisable faces in Hollywood isn't afraid to take it to heavyweights like Kevin Hart and even America's father and the legend that is Tom Hanks. All in good humour and love though. Just like how he does to the President...and we're talking about Barack. Because even the Obama's can't escape his good natured humour that is always poked back at self deprecation towards this guy. So you just know Trump is going to get more than a fart joke. And even if there is cause for taking to Twitter offence like such is the nature of comedy-especially today-you may get angry. "But did you die"!? And from the special guests in the crowd, to all the people he's worked with, Ken brings a refreshing blend of real comedy with no offence intended in a time where we could all do with such that will help us loosen up and enjoy this one for a chilled evening (NO! Not that type of chill. That's your business). As this terrific trip down the all comes back around journey of memory lane shows how this 'Hangover' and 'Community' legend got to be where he is standing up today. Following the cancelling of his on call 'Dr. Ken' medicine man show that was shown the E.R. like Clooney, despite his desires to open up the swing doors for fellow Asian American actors. This one of Korean descent ended up taking a flight to Singapore for a certain classic movie of last year that despite the outrageous Oscar snub you may have heard of. 'Crazy, Rich Asians'. As a matter of Ken's karmic, redemptive fact is the first all Asian Hollywood movie in 25, quarter of a century years since 1993's 'The Joy Luck Club' (starring an 'E.R.', 'Mulan' and 'Agents Of S.H.I.E.L.D.' fitting face in the crowd here). And with that films director Jon M. Chu getting behind the camera for this show it truly has the makings of something real special. Showing just how far Jeong and the Hollywood he has helped inspire has come (pardon the pun). And to think all this started with him naked in the trunk of Bradley Cooper's car, which must have been cold in there. But behind one of the sharpest, soundest, freshest and funniest minds in movies today is the woman he loves. His Ho. And how much further they have both come...together. For Tran and her man who shows this industry is no longer lost in translation, but as worldwide as the cinematic reaches people like Michelle Yeoh of 'Crazy Rich' started in Hong Kong, China with Chan. As Ken Jeong shows his art of being a king of comedy is actually playing against stereotypes those ignorant tried to impose, whilst showing there's more meaning to something than the surface of just a name. After all there's no business like Ho business. TIM DAVID HARVEY.

REVIEW: IF BEALE STREET COULD TALK

5/5

Moonlight For Melancholy.

117 Mins. Starring: KiKi Layne, Stephan James, Colman Domingo, Teyonah Parris, Michael Beach, Dave Franco, Diego Luna, Pedro Pascal, Ed Skrein, Brian Tyree Henry & Regina King. Director: Barry Jenkins.

"I'll tell you a story, if I may." Riding between somewhere near Beale Street in New Orleans and satsuma coloured counties of California in the fall of this November gone, my loneliness was eased by reading the novel 'If Beale Street Could Talk'. A beautiful book that really spoke to me. As a matter of fact it did more than that. It sang to me. All in anticipation of this perfect prose being adapted into the latest picture from mesmerizing and moving 'Moonlight' director of face to screen, fourth wall, slow motion art on screen itself, Barry Jenkins. And father figure Colman Domingo speaking to Out magazine is right. James Baldwin does make you feel like you're not alone. A writer who when he was growing up, "was trying to find a connection. Between the life (he) saw and the life (he) lived", like he says on the beginning of a trilogy of testimonial trailers that end with the soft killing of Fugee, Ms. Lauryn Hill. And oh how he does now in his everlasting afterlife. The legendary activist author can even bring beauty out of something as base but right there on each and every one of us as our genitalia. Romanticising it all as he refers to it here as ones "sex". Poetry in history meets the modern language of love in the movies in the cinematic couplets of Jenkins. Circling like the spiral clouds of cigarette smoke in the craftsmanship wood workshop. And it's a match made in old Hollywood heaven. One that would be a power working couple in official collaboration if it wasn't for the aforementioned authors passing. But this prose is prolificly passed on generations later to give rhyme to reason once again. Jenkins ode isn't just a homage to this king of literature James, but a love letter to the classic city of New York and it's bountiful borough of Harlem in all its heralded heyday and jazz. Kneeling at those iconic brownstone steps like Romeo looking up to Juliet's window. And "if you trusted love before", don't panic my star crossed lovers as we lay our scene in fair New York, New York. "Trust it all the way".

Love is art and soul and romance is poetry. And with Baldwin's words, Jenkins knows how to paint the perfect picture from the heart of his cinematic canvas. And following the 'Moonlight' after melancholy of his Holy Trinity stages of life and its trifecta of triumphant actors now making their own individual mark in movies like 'Black Panther', 'The Equalizer 2' and 'Bird Box', Jenkins next approach to his terrific, traditional timeline is non-linear. But then again neither is love. But you really can trust it all the way in the man and woman of our two young leads destined for stardom no matter where their hearts will take them in this picture portrait. Playing 'Tish, forced with the shadow of the burdening threat of raising her child on her own after her love Fonny is wrongly incarcerated, KiKi Layne of the forthcoming 'Captive State' is formidable. As in a race against time she looks to get the love of her life and the father of her child out of jail before the baby comes. And it's this dual, mirroring theme in Baldwin's story of a baby being held inside, whilst a husband to be wants to be reborn from the labour of his struggle impregnated in prison. This metaphor from Baldwin's book is brought to the light of day and train tracks from Jenkins in a searing metaphorical moment of pure emotion. One were a stellar Stephan James (the Toronto, Canadian actor from the six of Amazon's Julia Roberts show 'Homecoming', 'Selma' and his own breakout, 'Race') runs down the subway stairs of an iconic N.Y.C. station and is trapped by the bars of the barriers he shakes with harsh crashing metal and his own painful screams, only just drowned out by the deafening, incoming train that threatens like their situation to derail everything. But touch your palm to the glass as these two talk through the perspex barrier of a visiting prison phone and you'll be really connected as these two young lovers are, showing no pane (like the atmospheric rain falling around them as they make love in perspiration and precipitation for the first time), or pain will drive them apart. No matter if these bars are made of iron or the stone hearts of racism. This perfect pair in all their young innocence, passion and invincible optimism of first love hearts will-like the 'Becoming' of forever First Lady, Michelle Obama's moving memoir taking us back to the time she shared a first kiss on the sidewalk over ice cream with a young man named Barack-remind you of what it's like to be in love again. Just in time for the perfect Valentine's embrace.

"These are our children. And we have to set them free." Colman Domingo's brooding baritone confides with heed to fellow father and genuine, gentleman talent, Michael Beach. An incredible character actor who went from 'Third Watch' to 'Patriots Day', before making waves in this fall's 'Aquaman' superhero blockbuster as a character catalyst. Now looking to steal the Winter on the double like the scenes he does here. Domingo, after starring in civil rights and war critical films like the Martin Luther King Jnr epic 'Selma', 'The Butler' and 'Birth Of A Nation' surrounded with Academy Award nominations is worthy of one himself. But this year he won't meet Oscar in another snub for the somewhat forgotten gem and iconic, timeless classic of a strong season on the Golden Globe to Bafta Award your that's about to take it to the red carpets of Hollywood boulevard now the Grammy's have been plugged. Sure the sublime score and screenplay sensations have been nominated along with a big, mainstay favourite we'll get back to. But how about (deserving of an award like Olivia) Colman? Like iconic, inspired cinematography, costume (needled threads haven't looked this good since poetic rapper Common changed his style in-line with this to 'Be' more contemporary classic) and of course 'Best Picture' (perhaps this is due to the envelope embarrassment. See also; Damien Chazelle's latest best) for the most accomplished one since 'Mudbound', with Hollywood heavyweight support from '12 Years A Slave' producer Brad Pitt in this once upon a time (still so timely) in America. You'll wonder why the snub when you see just how good Domingo is here. Like when he receives the news of his daughter about to bring life into this world and it looks like he's crying in pain, before the joy brings out the laughter and forever pride of a man toasting to what he hopes is a boy. It's moments like this or the light in this city of 'Dear White People' and 'BlackKklansman' director Spike Lee's critical 'Chi-Raq's Teyonah Parris (an actress whose time is coming...now) telling 'Tish to "unbow your head sister" that will leave you with those same thing line between love and pain tears of striving joy. There's so much talent here, recognisable but bubbling on the surface of their own breakout breakthrough. Like 'Now You See Me' card series Dave Franco rising up from the decks of big brothers shadow. Or 'Rogue One' and 'Elysium', 'Narcos: Mexico' star Diego Luna. Or original 'Narcos' of 'Kingsman' and 'The Equalizer' sequel fame, Pedro Pascal. All accomplishing so much more with this. But it's a psychologically disfigured and physically unrecognisable Ed Skrein of 'Deadpool' fame who is perfect as a purile, bigot of a cop who will make your skin crawl as much as his. But credit to his real life anti-whitewashing stance for stepping down from the 'Hellboy' sequel. Even 'Atlanta's' Brian Tyree Henry is here free already lighting up the big-screen as a bike villain in last year's 'Widows' making of his 2018 calendar. But here in the time he has over dinner and cigarettes he'll break your heart and the rest of you like he did with healing in the Emmy episode of the second season of the offbeat comedy drama of 'Atlanta' that was the most personal one yet. But it's Regina King who is the queen of all this. As the Critics Choice, Golden Globe award winning character actress will surely herself find Oscar with her support in getting her the father of her daughter's baby out of his chains. She's the favourite like that films stars Rachel Weisz with the great British Bafta. And she deserves it like this film does 'Best Picture', let alone a nomination. But if there is any justice in this world and with all due respect to all he rest in a best year like 'Black Panther', Queen and Mercury's 'Rhapsody' and the latest 'A Star Is Born' adaptation (can we get a minute for where is the all acting, singing, writing music and playing 'Best Director's nom for Bradley Cooper? In a year of 'First Man', 'First Reformed', 'Crazy Rich Asians' and 'Wildlife' snubs (but I guess there's always going to be those who have to miss out and disagree like me.)) Netflix's black and white 'Roma' or Viggo and a knockout Ali in 'Green Book' will clean up on this road to glory. But after all these years and all she's done from 'Jerry Maguire' to 'Ray', Regina gives everything with every emotion to this role like she always has. One moment of transformation is truly transcendent. And with this she deserves more than something in return, in all its weight of gold. Just wait until you see why she will earn every carat and cent of our paid dues in praise. Because layered in the texture of deep, human nuance, you've never seen anything like this before in your whole life. 'If Beale Street Could Talk' and the lives of its inhabitants that more than matter scream for recognition like a newborn with a praise previously premature. "Are you ready for this?" TIM DAVID HARVEY.

Further Filming: 'Moonlight', 'Loving', 'Green Book'.

REVIEW: VELVET BUZZSAW

3/5

Velvet Revolver.

113 Mins. Starring: Jake Gyllenhaal, Rene Russo, Toni Collette, Zawe Ashton, Tom Sturridge, Natalia Dyer, Daveed Diggs, Billy Magnussen & John Malkovich. Director: Dan Gilroy.

Picasso or Warhol. Art is art. But in some galleries there's a whiff of pretension that wafts through the conditioned air of its exhibits like smelling salts up your sinuses. But for every art dealer moving pieces by the millions that could mortgage a small country, there are self-shredding Banksy pieces that in almost making a parody of all this, look like corrupt firms at the end of movies destroying everything in sight that tear all that up. Sometimes you just have to take a step back...and another one...go on, to mosaic look at it all and take it in. Because stand close and for long enough and some art can really grab you and take you. Literally here in this Avant Garde piece with shades of 'The Portrait Of Dorian Gray' from Dan Gilroy who reunites with Jake Gyllenhaal, who was as creepy as the skin on his bones in 'Nightcrawler'. That also sees another reunion in this big three menage with Gilroy's amazing actress wife Rene Russo again on renaissance, revelation, 'Thomas Crown' form. Gyllenhaal back to punching weight after his boxing 'Southpaw' to night stringer bean, crawling shift plays an atypical snooty, bespectacled art critic who thinks a white shirt and pair of served tennis shoes goes with a suit instead of a tie. Holding his frames up like an open Justin Timberlake box present would be his poseable look of this former Disney 'Prince Of Persia' and Marvel Mysterio villain to be if his character was made into an action figure. Or more appropriately here, an alt-sculpture. Pressed against his pursed lips like the thinking man, or the prescription was for his mind and not his eyes. But even if your vision isn't 20/20, you can see that Netflix's latest pop product-complete with new icon I.D. and some opening artistic credits that really are a 'Catch Me If You Can't canvas master stroke-is a satire piece dressed up as an Instagram story hit click heart bait in a fake filtered world of social (media) validated style, starving for substance. It's like the 'Nightcrawler' team took one look at Paul Allen's card, put on a plastic raincoat and took an axe to the canvas. Splitting all our heads open before even giving us the chance to hear them out about how you should really listen to the lyrics of Huey Lewis and the News' catchy classic 'Hip To Be Square' (cue the Christian Bale, 'American Psycho' iconic shuffle). The undisputed masterpiece that's not just about the pleasures of conformity and the importance of trends, but also a personal statement about the band itself. And leaving us with a pair of popped eyeballs as we eat this all up. But what's really in fashion here?

Gloriously Gonzo. Gilroy's 'Velvet Buzzsaw' named after Russo's character bands punk past with a Slash revolver is a six shooter genre Russian Roulette, that goes from a thought provoking thriller and noirish dark comedy to a social tragedy that descends into the horror violence of a B-movie slasher flick by the knife. But none of the horrors here are frightening, despite the creepy canvas. Not even the jump scares will startle. You're more likely to feel alerted if a text comes through on your phone whilst watching what would have been big-screen, indie blockbuster bait if it wasn't for the small screen Netflix revolution that even takes its swipes at the (not so) smartphone age. And these wounds are more than superficial as it hits an industry as silly as this movie seems. But there's even hidden meanings in what looks on the vapid surface so simple. And maybe even warrants a refresh rewatch like the suburban T.V. dinner portion of an art piece. From how selfie absorbed people behave at a funeral, to the circling closing credits with the tide coming in to wash all this artful meaning away as we try to wash it all down like, "here take two of these and call me in the morning". Gyllenhaal who is great in Gilroy's gratuitous nature is on for another reunion with Netflix (the service streaming his 'Stronger' films like 'Prisoners', 'Source Code' and 'Nocturnal Animals') after appearing in the call of the wild to stop slaughtering animals for our own pound of flesh predatory nature in the outstanding 'Okja'. Which also starred his 'Wildlife' director and 'Prisoners' co-star Paul Dano, who along with nothing less than Jake gave us one of last year's best and now an Academy Oscar snub (are you telling me Carey Mulligan's powerful performance doesn't even deserve any award nomination? Please!). But from turning his nose up at frames, to keeping everything but the glasses on his head down in hallucination, Gyllenhaal gives us a fever dream of acting from the bottled Lost Angeles water to the downtown sweats. The clouds of celebrity to the fallen star from grace in character, acted to every human extreme. And when it comes to this type of expressed craft then if this isn't art. I clearly don't have the eye for what is. Hand me a pair of glasses darling.

But what sort of critic would I be for this film about an art one without picking everything apart (well hopefully not such a prick of one)? Every brush stroke. This fashioned film features a gallery of stars. Like the punk to pop art rousing Rene Russo. The more than scene stealing best in show here for an actress of acclaim who has stunned screens for decades ever since she went off the covers of Cosmo to be a true star in vogue. And if you thought the L.A. newsteam big-three reuniting by day for this art attack was grand then how about more than an acting one? Because the ever brilliant Toni Collette of 'Velvet Goldmine' circles this 'Buzzsaw', with a blonde Bob and fringe Tilda Swinton in 'Okja' would die for. The star who is really broke out even more with last year's 'Hereditary' horror show that even made noise to the blind coming out between the similar terrifying tones of 'A Quiet Place' and 'Bird Box' is so good, Netflix in promo of the ones they have of her call the films she's in a mood...and rightfully so. She really takes everything to another level. Even if it is British blitz actress Zawe Ashton who looks to intensely take everything over from these Hollywood Americans and the amazing Australian as the catalyst of this crazy piece of cinema. One that has so much paint on the palette. From 'Far From The Maddening Crowd's Tom Sturridge's shady international man of parody mystery, to 'Game Night' star Billy Magnussen's more than a handyman throwing a spanner in the works as the first one to play. But it's 'Black-ish' and 'Hamilton' stage star Daveed Diggs off Broadway who has the films funniest moment in an off-street, hit the ten seconds back button to hear it again hilarious reaction to someone getting critically shot down by a former flame. Burning bright in a cast that even has the assistance of 'Stranger Things' star Natalia Dyer on the Hollywood intern cusp of her own stardom and the legend of John Malkovich who is a new Netflix working man, rediscovering that old crazy form with this and a character so caustically squawking in 'Bird Box' Sandra Bullock (who is never, "that lady from...") unloaded a shotgun right in front of him. But as Gilroy, Gyllenhaal and Russo light switch the neon sleaze of a late night, 'Nightcrawler' for the Hollywood horrors as clear as a smoggy day in L.A. we have the perfect companion piece in what can be called the directors 'City Of Fallen Angels' period. One moment sees the general public the morning after walking around a dead body like it was just another no more shock and awe, desensitized exhibit with the cold blood licking at their feet. And these phones out days with so much to say in moments like that, this is kind of the size of how it really is. But killing all that buzz as soft as a saw, this velvet rises like a circular one up from the underground. And even when it crosses the line (and boy does it! Like our 'Friend' Joey said, "the line is a dot to you"), this art is fine. TIM DAVID HARVEY.

Further Filming: 'Nightcrawler', 'American Psycho', 'The Neon Demon'.

REVIEW: ROMA

4/5

Obra Maestra.

135 Mins. Starring: Yalitza Aparicio, Marina de Tavira & Fernando Grediaga. Director: Alfonso Cuarón.

Classic, compelling cinema by the canvas. 'Roma' is moviemaking art in every frame. From the soapy suds of a scrubbed and bucket watered down drive, whose drenched, glistening flags reflect a jumbo jet flying away to a whole new destination above. To the final call back closing scene, looking up to those same rooftops as the name 'Roma' comes into traditional credits over the next, great iconic, black and white movie in a homage to the artistry we had before technicolor. From the Polish Oscar winning 'Ida' to, well of course the silent classic of 'The Artist' that made Academy noise, almost over a decade ago. A hallmark throwback to the past that like this still feels fresher than most films in this Rotten Tomatoes age today going social media splat. And this decadent direction from the gravitas of 'Gravity' Oscar winning director Alfonso Cuarón (who went out of this world with more than 'Bird Box' star Sandra Bullock and all the way back down to earth) stuns the senses in noir that looks like it could have been made in the same seventies it is set in. Set to break records tieing Oscar favourite 'The Favourite' for most Academy Award nominations this year and the world changing 'Crouching Tiger, Hidden Dragon' for most noms all-time for an international movie in Hollywood history. Roaming the Academy this February, 'Roma' is so good it could do the double as both 'Best Foreign Language Film' and 'Best Picture, for this classic of contemporary cinematography. And it deserves it like the 'Best Actress' and 'Best Supporting Actress' nods to an international legend and a new star making her definitive 'introducing' debut. More than holding there own and maybe hopefully the trophy in categories featuring Lady Gaga, Glenn Close, 'If Beale Street Could Talk's' Regina King (finally getting her just due) and favourites Olivia Colman, Emma Stone and Rachel Weisz. Wiser since the weary, maybe this is finally the year the Oscars are so right.

Semi-autobiographical in its tone and based on 'Harry Potter-Prisoner Of Azkaban' director Cuarón's upbringing. Serving as a tribute to the woman that took care and helped raise him, Yalitza Aparicio's amazing adaptation of a character is more than a family housekeeper. And don't you dare look down on her and call her a servant like some here. Even if she serves her role as dutifully and respectfully as possible here. She's more than that in 'Roma'. She's part of the family. And now more than a fraternity with this 'Best Picture', she's part of the Academy too. Win or not. She's already claimed victory with a rookie debut in this acting game showing she's just as capable as this craft as a seasoned vet. Much like the one she's supported by. And with her silent but soulful stance amplifying ever emotion to those who know the beating heart of this piece gives us every bit of hers. And if you can't see through that translation when words aren't even needed than you truly will be feeling lost. But alas, don't worry only those not fully engaged will be. Because this isn't one just for cinephiles, but everyone who feels the longing pulse of love and family to the end of what's taking your hand. This won't be the first and last time Yalitza works in this industry. Soon she'll have a filmography as formidable as the supporting actress she in turn supports on-screen in Marina de Tavira. The 'Side Effects' and 'Love, Pain And Vice Versa' actress who shows all of that in an emotionally widowed wife whose missing husband (Fernando Grediaga, great, but not so in character) is off philandering without shame like it was philanthropy, whilst she is left to pick up the broken pieces like a dropped and discarded vase left to be dust pan and brush swept up. With an adorable (especially one son in particular who tells the memories of living a last life) family who adore a man she constantly has to take up for in story and duty, Tavira traverses all these pieces poignantly and powerfully as more than a woman scorned, but world warned. As she soberingly reveals after a few drinks about how all women are alone, no matter what they tell you. Getting her own back and way as she stumbles out of a classic Ford car in a film choked full of those gasoline guzzling sixties classic 'Bullitt' biting automobiles that she scratches against the walls of a drive her husband used to maneuver in with a surgeons precision parking to effect of, if only he treated his family with that much care and consideration. But boy does Marina de Tavira stand on her own two and proud like everyone does in this world fed up of being thought of as being victim to the trampling on of white male privilege. I love the Godfather of soul. But James Brown was wrong. It's always been a woman's world. Even to the men who think there's be nothing without them themselves.

Theatres have never seen anything like this. But cinematic God's willing they will do. Like we all should under the down lights of cinema in all its black and white beauty to truly appreciate this big-screen wonder. Although it still translates on any medium. Like the writer watching it on the same phone he drops on his face in his bedroom at night (blame my age and the fact that as soon as my head hits the pillow I'm gone), to watch it again, awaking mid-morning to be fully engaged (always do the following morning what you failed to do the night before). And forget the excuses of a weary workload and so many outstanding Oscar films coming out of nowhere this New Year, I should have watched this by now. And if you haven't so should you. Because after years and Idris Elba 'Beasts Of No Nation' years (it's almost been half a decade of prolific prominence), Netflix finally have an Oscar contender (did voters not see the magnificent 'Mudbound'?) that could win it. And so it should even if there is still something so special about the magic of cinema that I was reminded about from a friend I went to watch Clint Eastwood's new picture with recently. But still despite that time honoured films for Friday's (no plug, just a homage) tradition whatever way you can tell a story or see one in this smartphone distracted age is a necessity. If everyones heads are down, at least it should be because they are watching something worthy of taking their time. But this film brought by streaming service monolith Netflix (complete with an opening, but this time black and white and with no signature sound, Netflix icon I.D. intro) after a brief but becoming cinematic run is available for 137 million worldwide subscribers (and the people latching on to their accounts. So times that by four. Hey, I used to be guilty but now my own account is playing Robin Hood) to watch whenever they like. But forget 'You' or those 'Making Of' criminal or whatever series' are binging everyone's cracked screens at the moment, the time is now to watch a heralded classic of moviemaking, hiding in plain sight under your nose. Timely in more ways than one and done it's even back in cinemas for a limited Oscar consideration run. Apart from some petty outlets refusing to screen a Netflix movie which contrary to the magic of cinema feeling that these theatres seem to be now treating with misguided hypocrisy. An idea that in this age of storytelling sharing seems as ignorant as those switching off from a movie because they can't be bothered reading the subtitles. But in a year where Netflix like Marvel's superheros get their first big, 'Best' Oscar nomination where the Academy are no longer "so white" (although the 'Crazy Rich Asian' snub is exactly that...crazy!), maybe all this can be put to just deserves right. Because this look into the life of family with Mexican history (one terrifying riot scene by the Los Halcones gang, viewed from uptop a furniture store in one-shot trademark by the director who was known for this technique before it was a go to trend (from his iconic, shotgun riding, surprise early death stroke in 'Children Of Men'. To his globe rotating ones by satellite in the groundbreaking 'Gravity'), leads to a gut-wrenching, heart excruciating, water-breaking pregnancy) as a backdrop on the rooftop of many like this central character hanging out the laundry sheets to air and dry is necessary to see for the one woman and director that represents them all and in humanity turn the wider world now finally watching. To reveal anything more in this heart searing and soaring, breakthrough picture would be to spoil the joy and pain that will be evoked as you're senses feel their way through this touching picture that gives you a taste of life outside those so called United States. All the way down to its wet sand, beach beautiful, subtle moment of iconography by the tide of the sea. In a time where world leaders (who shall not be given publicity coverage here named) are wanting to put up walls to people just like us. People like this in this independent, cultural touchstone are giving everything they've got to knock all those border barriers of prejudice down. TIM DAVID HARVEY.

Further Filming: 'Gravity', 'A Better Life', 'Ida'.