REVIEW: THE HIGHWAYMEN

3/5

Natural Born Untouchables.

132 Mins. Starring: Kevin Costner, Woody Harrelson, Kim Dickens, John Carroll Lynch, Thomas Mann, William Sadler & Kathy Bates. Director: John Lee Hancock.

As American as apple pie, baseball, or 'Field Of Dreams'. That is Kevin Costner. If you build a classic, golden era 90's movie...he will come. But this one is as 'Lawless' prohibition era timeless and nostalgic as it gets. Tommy guns, Gumdrops and Woody. Harrelson that is, as the 'True Detective' and 'Natural Born Killers' star joins an 'Untouchable' one on 'The Highwaymen' trail of America's most notorious lovers in lead assassins, Bonnie and Clyde. Cheers to Woody who even tries to pass the bar with his own 'Untouchables', "he's in the car" like line. With Texas Ranger true grit, highwaymen haven't been this cool since Johnny Cash, Willie Nelson and them. And you know here Woody is the one with "Georgia" on his mind here. The whole day through. Warren Beatty and Faye Dunaway played the original runaway 'Bonnie and Clyde' in the classic Hollywoodland movie. But in today's 'La La Land' you could be forgiven for reading the wrong envelope as the young actor and actress who play the criminal couple here aren't revealed until the final frame of their cut, eerily, evokingly filmed on the same stretch of real road these two were taken down on. You'll be wondering throughout this compelling take of surprisingly for its subject matter quite a pleasant picture, who they really are. This writer even thought (hoped) the Bonnie in a bonnet was his favourite flame haired Jessica Chastain. But alas you'll have to IMDB to find out who these young actors really are. But who needs the original Mickey and Mallory when you have the untouchable detectives of Costner and Harrelson? Not to mention the 'Misery' of Kathy Bates. And can we say with all due respect to the King of horrors and that classic adaptation, but in some ways it's a real shame that Bates names is associated with a film of such title when her name alone on a credits casting call inspired so much of the opposite joy. Well I'll be God damned...had to get that in somewhere as we hit the highway of this old slice of Americana.

Netflix may just have the monopoly on what makes up for over half the movies that come out these days. From the outstanding Oscar winning 'Roma', to Ben Affleck's Hollywood A-List enlist 'Triple Frontier' (this one is more 'Live By Night') and all the 'Velvet Buzzsaw's' circling in-between. Even a timeless, classic looking one like this has gone digital. If you're not making Friday night a date night at the cinema each week, then you're chilling with the latest new releases on the streaming service as you turn the lights out with your homemade bowl of microwave popcorn spinning. But 'Us' only last week were talking about the pilgrimage to the sanctimony of cinema and how there's still a romantic magic to it. Especially when it comes to blockbusters and event genres like the hide behind your hands nature and nuance of horror like 'The Twilight Zone' Jordan Peele's latest classic. But still even though for as much as it gives you as it takes something away, you have to love the smartphone convenience of having so many and different types of movies, new and classic in the palm plan of your hand, ready to go at any minute. Akin to having a whole library on your Kindle, or music collection on your iPod (wait...they've stopped using them?). And besides, sometimes it's better to stay in. Sometimes you want an epic 'Endgame' like event to dust off those cinema seats like stetsons. Others you could take it leave at home and not worry about the price of admission. John Lee Hancock with a John Lee Hooker like cool and traditional as the blues name for this ol'murica epic like western gives us exactly the latter, shot sublimely. Netflix is where some movies go to die. You can find them in the 'Continue Watching For (insert your name or whoever's Netflix account you "borrow" here)' section, frozen in forever ten minutes in time (we know what you're doing). But along with bringing some of his former actors around for this ride, the Bullock football kid, 'The Blind Side', the Disney of Mary Poppins, 'Saving Mr. Banks' with Hanks and the original McDonalds ham-burglar of Michael Keaton for all the fries in 'The Founder' director continued his run of molding movies into that matinee style, perfect to frame for your next lazy Sunday. This is no earth's mightiest heroes duking it out with the guy with the golden glove to save half the universe population. But it is two real life group lawmen out on the range trying to take down two of the most dangerous and famous (and that much more so for the former with this latter fact) criminals the United States and the watching world has ever seen. And in flashbulb through the Tommy round shattered glass car of these crooks moments you see just how for some bizarre reason these two call it like it is murderers where idolized by the American public. As John Lee has something to say about the nature and history of violence and what it means today in a stakeout meandering on the road movie that saves that type of collateral carnage for the finale that stays with you in its exact location long after you've stopped casting. This terrifying time of misguided ignorance wasn't long before one where they would start to test the atomic bomb in the deserts of Las Vegas, whilst real gamblers in Sin City would line up excitedly in front of men in white coats with Geiger counters to see how radioactive they were. Really? Really! This is America people.

Frontiersman Kevin Costner was American dream born for a role like this, as he and his partner in arms play the real like icons of justice Frank Hamer and Maney Gault. The 'Dances With Wolves', 'Postman' and 'Waterworld' epic actor has always been a Tom (Cruise or Hanks) Hollywood type of his own, young to old legend. From being one of the original 'Prince Of Thieves' Robin Hood's (on a time where he was as American denim popular as...erm Canadian Bryan Adams chart topping and staying theme song), to being the only real Kansas farmhand that could play Superman's earth father and do it so subtley and beautifully (see his "I miss you son" somber story of wild horses in a mountain vision for the 'Batman v Superman', still so cruelly underrated sequel. It's not all about Martha). And here this United States national treasure gives us his level, front and centre best in years between Jack Ryan's and his western 'Hatfield and McCoys' television pasture years that have had highlights with the 'Hidden Figures' of NASA and Jessica Chastain's 'Molly's Game' gamble that paid. Two movie moments underscored by soaring strings here are classic Costner with apple pie warm feeling (NO! Not that kind). One were he Rooster Cogburn tests his aims eye, shooting glass bottles in the barrell as a tussled hair kid throws them up like clay pigeons for dollar note bills. And one where like an old testament 'John Wick', Costner from Smiff to Western Winchester buys guns, "lots of guns" from a local stores clerk and the in awe helping hand of his son with deadeye, behind the notes, understated but disarming charm. Classic Costner. And with his 'True Detective' look intact and in hat, Woody Harrelson-who along with fellow executive producer Matthew McConaughey has given the third season of the HBO show they started something to go by the 'Green Book' of double Oscar winner Mahershala Ali for-makes for the perfect partner and sidekick to Costner's Dick Tracy esque Elliott Ness. Although arguably even more famous a face and talked about than Kevin these days, the ever working and versatile actor of  'The Hunger Games' and 'Now You See' me franchises too (last year this guy starred in the Oscar Best Picture, 'Three Billboards' and a 'Star Wars' story. Hell of a résumé, even for one calendar) is just as good as blending into the background like his fabulous scene steal in 'Friends With Benefits', as he is 'Rampart' working alone, or causing Carnage in a sequel to Marvel's 'Venom', ever since he cleared the Boston bar in 'Cheers'. But here alcohol soaked in sobering memory and spiritually stunted until his own two demands he stands up for himself, Woody brings charismatic nuances to this complicated, but outright decent man. Just don't disturb him when he's trying to take a piss. And his coffee shop, road stop for breakfast scenes, chewing the fat of whose taken more for the two man team with Costner and their Tommy BLAM, BLAM blast of a shooting range scene to prove it are camaraderie over the decades redefined. And even though we ride Iggy Pop passenger with this wheelman and shotgun as they traverse the great roads and routes of these United States it's more than these old man, buddy cop dynamics that we get to go back-to-back with over this trip. Like 'Blind Side' and 'Gone Girl' actor Kim Dickens, looking and feeling every seam and the way she carries herself born for this era that the costume department couldn't even dress up as good. Or another Hancock reunited actor in 'The Founder's' John Carroll Lynch. Who like his foggy foreshadowing in Scorsese and DiCaprio's 'Shutter Island' is the perfect scene setter. And let's not forget rising star and veteran character actors alike in Thomas Mann ('Kong: Skull Island') and William Sadler ('The Shawshank Redemption'). But it's Kathy Bates with a commanding performance as the first female Governor of Texas, Miriam "Ma" Ferguson. The 'Fried Green Tomatoes' iconic actress taking everyone to the old school like she did when she showed Leonardo which was the right fork to use first for dinner on the 'Titanic'. Dallas, Kansas, Oklahoma, Louisiana. It's been a long road for these 'Highwaymen'. Even late and now retired acting icons and legends Paul Newman and Robert Redford were once called upon for the duty of this undertaking to go along for the ride (imagine that Butch Cassidy). But in the end on this road, director John Lee Hancock and his dynamic duo got their man...and the dame. TIM DAVID HARVEY.

Further Filming: 'The Untouchables', 'True Detective', 'Public Enemies'.

REVIEW: US

4/5

This Is US.

116 Mins. Starring: Lupita Nyong'o, Winston Duke, Shahadi Wright Joseph, Evan Alex, Madison Curry, Anna Diop, Yahya Abdul-Matten II, Tim Heidecker & Elizabeth Moss. Director: Jordan Peele.

Get 5 on this. What about 'Us'? Jordan Peele rules. The executive producer of Spike Lee's Oscar winning 'BlackKklansman' (who first brought the pitch, "black man infiltrates Klux Klan" to Lee. Which was all the words needed to pique Spike's screenplay interest and inspiration) is about to tune our household television sets back into 'The Twilight Zone' of the 1950's. And those who thought the comedy half to Key couldn't master horror like 'A Quiet Place' in this 'Hereditary', Halloween reboot golden age of King of horror, 'IT' and 'Pet Sematary' chapters of the genre were told to 'Get Out' like their initial reaction once they saw that movie. Just like the romanticism of cinema and the fright night genre in this Netflix age redefined, people popping popcorn too loud during the Krasinski and Blunt partner up, family movie (I think not) classic (absolutely). There's a reason Jordan has produced the last two Oscar winning 'Best Screenplays' (original and adapted). Peeling back the layers of movie metaphors and social commentary in cinema face masked as entertainment, Jordan like his last namesake in the fourth scares the Timothy Dalton playing Bond in 1987 out of us. Shaken AND stirred. When I was a kid I used to think my mum's sewing scissors were so sharp they could take my head clean off. And with the iconic gold brass ones outfitted here with symbolic crimson blood red jumpsuit, this fear is paper chain brought around and daisy, hand-in-hand around again for a writer so scared of horror movies he once said "nah I'm good" to a Jack White gig (a musical hero) a week after watching the demon in 'Sinister'. My excuse of "I always preferred Meg" didn't fly. Now this film will make you scared of the sunny smiles of The Beach Boys' 'Good Vibrations'. Giving you actual bad vibes for sands sake. Let alone N.W.A.'s 'F### The Police' and the Luniz tune for you old school hip hop heads which is about to get the s### Spotify streamed out of it. Even more so then when the terrific trailer first came out and back in nostalgia. You'll never hear those iconic chords the same way again as now they are turned into sinister strings that haunt like a horror opera, timeless classic for a formidable finale by the curtain cut. Not some dope 90's song about weed. Smoke my previous scaredy cat ways however. Finally falling in love with the hauntingly old horror genre has never been so wickedly wonderful in all its dark delights. As one classic deserves another. And after 'Get Out' changed the genre and the subversive subtext of such movies, giving Daniel Kaluuya a Oscar golden ticket to Wakanda, its Academy Award winning screenwriter and director Peele enlists the help of two more of 'Black Panther's' biggest stars and shining lights in warrior queen Lupita and the scene stealing Duke for 'Us'. Even the June of Elizabeth Moss is here in this rabbits tale in Handmaiden red. Now if you want to get crazy, baseball bat to palm...we can get crazy.

Our greatest fears are shelled and shocked to our very collective core here. Forget hiding behind that couch. Horror monster Jordan is going to phone book tear it in half. There's nowhere to run. There's nowhere to hide. From yourself. From 'Us'. Watching, waiting ("anticipaaaating"). Safe as suburbia? You tell me when your white picket fence is home invaded by the very monsters that hide beneath your own beds. Better pull up those sheets tighter than how they tuck them in in hotel rooms. Just watch man. The Rorschach test ink blot Easter signs are all there for you to make shape of. Like a 'Jaws' t-shirt underscoring homage to the seaside paradise boardwalk by the beach, before a real predator da-dums its way on shore. And there's more biblical references in implication and character name here than the draw of your bedside table in said hotel room. If I go to bed tonight and the clock reads 11:11 tonight in digital red I swear. And speaking of hotel rooms, there's so many horror tropes and references to classics of the genre. Like opening the door and peering your head round in a 'Scooby Doo' like meddling fashion. Or welcoming home to play what looks like the twins from 'The Shining' all grown up. This coupling is part and parcel of the dual dichotomy of this circling, hands across time story that all comes around like karmic energy. So much so that right from the reflective hall of mirrors opening in a 'Joyland' homage to the amusement arcade carnival setting of Stephen King's 80's era horrors like this 4th of July's 'Stranger Things' season, you won't want to Alice your way through the rabbit hole of this looking glass turned inside out, as it cracks and scissor cuts you with shear scarring scares. One insane membrane, under pressure moment, cracking and splitting heads on a coffee table is so taught and terrifyingly tense you'll never be able to put your feet up again in your living room of undead nightmares. You won't want to meet your Jesse Eisenberg 'Double' doppelgänger after leaving this theatre like two Spider-Man's pointing at each other. It might be your worst 'Enemy' like Jake Gyllenhaal if that isn't already you. And like said films in this two-by-two, like for like genre there's more to read into here than mere chapter and verse. Is this an exploration of our own dark sides we try to hide? The evil we do to each other? To ourselves? The outside and inside halves of our personality? Our innocence offset by our inner guilt? The masks we show to the outer world and the face we reveal only to ourselves? The face we use as a front and the one we have like a knife in our back? The society of slavery? A railroaded class? Or a bunker reveal of the government on the brink of a nuclear war in the age of a digital battlefield? Is this 'Hands Across America' reference a stand against what that movement actually did in protest? Or is it a metaphor for Trump's wall with its bordering run to Mexico reference? Whichever way you cut this paper chain it doesn't waltz around some blade sharp harsh truths. All the way down to a real 'Black Swan' song, strong ballet of brutality, as we dance with our own pale moonlight devils here in poetic, demonic form. 'Us' really does take an inward look at U.S. 'Us' is America.

"We're American's", Lupita Nyong'o dryly and slyly replies to herself when the classic horror line "what are you" through single fallen tears and scared stuttered speech is uttered. And that's about the size of this run rabbit run parable as you follow the white one like the matrix of a Jefferson Airplane tattoo. An awakening force, the 'Star Wars' actress Nyong'o is out of this world here in her dual parallels. Playing both parts perfectly, Lupita is legendary legacy making in her best feature role since the gold statue she received for '12 Years A Slave'. Polish another one because in this 'Face/Off' she ying and yang plays both sides of the coin with heads and tails distinct, dual definitive differences. From the eyes of fear to the piercing pupils that induce them as fingers rap tap on cheeks as this taps into even more, much deeper fears itself. And good lord that voice and those movements. Whilst her 'Panther' partner Winston Duke who stole the show from T'Challa with his charisma, is the dad joke fun of this comic-relief, horror satire. Costume complete in Peele bifocals and a Howard university sweater. And how about the outstanding offspring? All their children and their alters played by a crazy good Shahadi Wright Joseph and a feral in 'Us' form Evan Alex, covered with a Chewie mask better than Candace Payne. Now how about the introduction of Madison Curry? Who brings haunting 'Exorcist' expression as a child star of the future in her first thrilling role in an oversized Michael Jackson (erm...) t-shirt that will really stay with you like hand me downs. Parented by the trappings talent of Anna Diop and 'Aquaman's' Black Manta showman Yahya Abdul-Matten II, who really is coming into his own on the seconds of his name double. With a drunk, Dutch courage charisma punch to the big-top and wheel carnival here. But it's hilarious comedian Tim Heidecker's mad man and the 'Handmaid' T.V. star of Elizabeth Moss that bloom from the beach to a house scene that is a party to this horror themes slash and grab tense tributes to the whole, "I just heard and saw something outside" terror tease. Go check! Moss in particular in front of a flashbulb popping vanity mirror makes and marks the most of her emotions and the further reflecting expressions they evoke. Her made up and below the foundation masks are the comedy and tragedy (another reason why Peele is perfect for the what lies beneath genre of hidden horrors) fine line faces of a false goddess millennial culture whose self esteem is lost in a screen and not what reflects off that when they switch that distracting light off. With so many themes and elements to this terrifyingly good, horror epic there are so many creepy pictures you can crayon draw from all of this as shadows collide with people. But either way you will be tethered to this one like the man in the mirror. And if like those who don't believe in ghost stories, you aren't scared of your own shadow then you're about to be. This sophomore screenplay and directing production from Jordan Peele gets as good as it's identical twin 'Get Out'. And with rumours of a trilogy there is more to 'Us' than meets the eye. How leather glove fitting for the final frame that won't remain on the cutting room floor. We need to get more out on the double. Because otherwise whose going to save us from ourselves? TIM DAVID HARVEY.

Further Filming: 'Get Out', 'Black Panther', 'Enemy'.

TOP 10 MARVEL M.C.U. VILLAINS

They say everyone loves a bad guy. Well maybe not in this day and age (nice guys stand up!). But when it comes to the M.C.U. (sorry Magneto. Despite the new Fox deal with Disney you're not right for this one. We're going to leave out the Kingpin best T.V. shows too. And we're 'Far From Home' from knowing just how deceptive the Jussie Smollett of Marvel villains, Jake Gyllenhaal's Mysterio will really be), which bad guy finishes first? The guy who plays reindeer games? Or the one who likes to dust? So on the Marvel Cinematic Universe's 10th anniversary let's countdown their top ten villains of all-time. Like Andy Serkis' (honourable mention, along with a wasted, born to play a villain Mads Mikkelson in 'Doctor Strange') Klaw says, "let's have some fun" in this age of 'Captain Marvel' before the new 'Avengers' movie takes us home. "We're in the Endgame now".

10. The Mandarin: Arguably the most shocking twist in M.C.U. history came when one of its biggest villains in the 'Iron Man' canon turned out to all be a red herring ruse. Splitting fans like segments of an orange most (including me for about two minutes) hated it, until we all saw the funny side of a meta Marvel that never takes itself too seriously. And ageing as well as this Academy Actor, having the legendary Asian Mandarin villain being "played" by British national treasure Ben Kingsley satirically said something about whitewashing before the controversy in media went social. Although then they didn't learn with the Ancient One.

9. Ultron: Although the "age" of Ultron adapted from one of the most graphic of novels lasted all of a couple of hours it was still something to behold. James Spader voicing a robot and that chrome ass?! We're plugged in. And anyone that can make a Disney song sound like it belongs in a horror movie is truly terrifying. No Pinocchio nose. And who knows maybe this big bad bug is still somewhere on this world wide web.

8. Iron Monger: The first and still one of the best. How you can obtain from Stane when he's played by the one and only Jeff Bridges? If he wasn't such a legend in cool than that voice would have been orchestrated for villainy. And the dude gets all the cool points for shaving off that iconic long hair don't care for his big, bald bad. Raise your White Russians.

7. Ego: It's a freaking planet people! And if that wasn't enough its played by Kurt Russell! End of.

6. The Vulture: The real 'Homecoming' in the Spider-Man movie was the master meta move of having 'Birdman' and 'Batman' himself Michael Keaton play another avian comic book legend, but this time a villain. And that "Dad talk" he gives Peter Parker on a prom night punch twist was amazing. Like his (not literal...yet) hilarious takedown of the Shocker. A bad guy that picks up scraps of other villains armour to make his own suit? You know, like a Vulture?!

5. Hela: It took Marvel long enough (18 movies) to have a female fronted movie in 'Captain Marvel'. It's almost like they think women are the bad guys. But that's not true either as it took them almost as long to make one a villain. Using the it "won't sell toys" excuse like Disney not packing Rey (WHAT?!) in their gift packages for Christmas (coal for you his year Mickey). But then showing real power in 'Ragnarok' alongside Jeff Goldblum's Grandmaster (who is so good we can't even call him bad), Cate Blanchett's Hela, sister of Thor made all that hell to pay. Destroying a whole realm of God's like they were...well, toys.

4. Thanos: Yes four! What you going to do about it Brolin? Click your fingers?! No wait?! Seriously anyone with the power to vacuum half the heroes and the world with one snap (I couldn't even click my own damn fingers until 27...and then all my friends started disappearing (not related. I promise!) is the be all and end all power. Even if we all know it will all end up reversed next month (we see your sequels Panther). So why so low? Well put it this way, you may be the ultimate big bad boss but you sat on your arse for about three movies. So we don't think you really have the stones for this Barney. Stick to farming.

3. The Winter Soldier: Brainwash argue he's not a real villain and the honourable mention of Zemo (like the behind the scenes strings of American acting icon Robert Redford's S.H.I.E.L.D. piercing Hydra man) is and like Stark says I'll tell you, "I don't care, he killed my Mom" (Not mine! Love you mum!). In his self-titled sequel to 'Captain America' Bucky Barnes went full 'Terminator' for the whole movie until ultimately the most really shocking Marvel movie reveal (after its strongest scene and fight choreography with the Cap yet) for those who don't read the comics. And his 'Judgement Day' in 'Civil War' only strengthened his story and the dichotomy of the ultimate battle in good versus evil. It's just a shame that after his beautiful post credits moment in 'Black Panther', this war veteran White Wolf was reduced to spare screen time dust in 'Infinity'. But we feel this once anti-heroic will fittingly have the finale he deserves back in time with his oldest and most loyal friend. Seriously whose cutting onions up in here?

2. Killmonger: In the year of 'Infinity', the revolution of 'Black Panther' was by far the better movie. Just like it's big bad. Who had an even bigger and better 'Magneto Was Right' t-shirt printed point than Thanos. And Michael B. Jordan like his Basketball namesake in every quarter just owned it. Killing it all the way down to the scars to prove it. From masking artifacts just because he's feeling it, to grounding other bad guys at air strips. As soon as he revealed that bottom lip and the methods behind his madness we bit. We were all in rooting for this dread locked warrior and his scene stealing Sterling pops. From being brought in in chains to taking the throne and a last line that means more to this watching world than the whole movie, Jordan's Killmonger changed the game. So much so the baddest villain since Loki...no Ledger's Joker anarchy, required Michael to attend therapy after. And like the one that got away we still haven't got over it since.

1. Loki: This is the real charismatic power in all its devilish trickery. He is the most formidable and flawed nature of true humanity behind villainy. And this frosty guys half a God. Tom Hiddleston's 'Avengers' assemble was behind the glass 'Silence Of The Lambs' Godfather of puppet mastery inspired. So much so fellow classically trained Great Brit Benedict Cumberbatch did the same this as Khan as he plunged the 'Star Trek' sequel 'Into Darkness' a year later. The God of Mischief's "death" in 'The Dark World' was epic and emotional. As was we hope in air quotes his final moments in the opening scene of 'Infinity War'. There's no villain like the Odin son, sceptre setter for this whole M.C.U. And if you don't believe us let us know if you want a magazine or something. Mewling quims. TIM DAVID HARVEY.

REVIEW: TRIPLE FRONTIER

3.5/5

A Most Violent Heist.

125 Mins. Starring: Ben Affleck, Oscar Isaac, Charlie Hunnam, Garrett Hedlund & Pedro Pascal. Director: J.C. Chandor.

Hanks, Smith, Depp, Hardy, Tatum, Wahlberg, Ali. Names like those may have passed on this, but other bigs would enlist.
Batman himself, Ben Affleck. The best actor of the moment Oscar Isaac, reuniting with 'A Most Violent Year' (one of the best pictures of the last half decade) director J.C. Chandor. The brotherhood band of the twin like talents of the Hollywood heartthrobs turned heroic actors, Garrett Hedlund and Charlie Hunnam (put them together and you get Boyd Holbrook. Who I was convinced for about half the runtime was in this movie). And the brilliant Pedro Pascal who's in Samuel L. Jackson action just about everything right now. With bromance bordering camaraderie from these co-stars during their tiring press junket tours. You haven't seen casts this good since the one everyone signed when you broke your leg in school. This macho seal roll call passes the eye test. But is there any depth to this Navy military unit? Or is it a submerged 'All Is Lost' case for the Robert Redford old man and the sea dog director J.C. Chandor in this 'Margin Call'? Well those sinking with your gold strapped to you greed themes (think Ben's 'Boiler Room', Gekko 'Wall Street' homage with special forces sealed in) are plumbed with the depths of Jude Law's great Scot submarine commander and band of barnacles, vessel shipmates in the claustrophobic confides of the great 'Black Sea'. There's even a moment of money in the wall madness, were greedy hands stripping away at the plaster wall coming down makes these dollar stacks look like the map of the United States. Money greases the oil slick wheels that makes that corrupt world go round symbolism anyone? But this time they are being picked off like fruit in a tropical forest like a Predator was stalking them (Boyd Holbrook?) between a cartel and a border place. After following a cash grab, 'Widows' making heist that is outstandingly orchestrated in direction like an Affleck bank job in 'The Town', the 'Heat' is on in a hail of gunfire for a man under new direction who has an awesome artillery when firing and setting up these set-pieces himself that 'Live By Night'. So with plenty in the clip and more than just a Hollywood big-three, 'Triple' looks to set scores of Netflix streams in the double. 'Roma' it may not be. But as you roam between the likes of original pictures like 'Velvet Buzzsaw' and officially licensed 'Narcos' series' to binge this side of 'Mexico', this leave your brain at the "continue watching" button is the perfect film for a Friday night in to watch whilst chilling with a Bud and your boys or girl. It's not exactly a new frontier. But it's the old tried and tested ground of familiar territory that's always nice to come home to after a long wage slave day of working for the man.

Which is kind of how these band of bros feel. Risking life and limb for country and returning home with not much more to feed their families. Something has to give...or in this case take, as matters, own hands and all that. And oh how they trade hands here in a machine gun manifest for their own illegal take on the riches of the American dream on the wrong side of the border tracks in a Trump age where walls are put up to all our own. There are messages here, albeit muddied in all the morals that do not Anakin have or take the high ground a sniper is perched on. Save that scope for the Oscars. It's blockbuster season now. And after 'Captain Marvel' showed us a new America, the scorching like the future in her palms summer is set off with a bang for bucks in this rainforests endgame. We're in it now. Like a brooding, bulking Ben Affleck with restrained resignation here. Who is feeling the flame heat of the pressure like his character on a real life rescue mission in 'Argo' did. Or in his own actual real life when he was tasked with writing, directing and acting as 'The Batman', which we wish we could still see from the perfect isolated and created Bruce Wayne. Bring back his Bat, back up to the mound. Because like the start of this article we will always call him that. Just like the president's club of Michael Keaton, Val Kilmer, erm... George Clooney (?), Christian Bale, of course the one and only Adam West and whichever Jake or Josh has got next. Here showing his previous dynamic directions acclaimed acting that he 'Runner, Runner' goes with whenever his critically underrated and cruelly disregarded (oh hey 'Gone Girl!) hard working talent is 'Accountant' called up for duty. The disrespect he has received is a disservice to not only the great man he is, but why we really enjoy entertainment. But he's fighting back now. And this time by his Academy Award winning side is Oscar. The inspired Isaac of 'Star Wars' and 'Ex Machina' sci-fi fame after his Cohen coming out party 'Inside Llewyn Davis'. The closest to DiCaprio who is also a Netflix deal darling thanks to the likes of one of last year's best 'Annihilation' and his 'Operation Finale' as unanimously underrated as his perfect 'Promise' with Christian Bale and Charlotte Le Bon. Here the American-Guatemalan actor with a job for you and the Ben that is back is pulling all the strings as he opens the shipping container doors to this illegal smuggling. And the closest thing to the halfway house between a Pacino and De Niro 'Godfather' is still stirring like the pot with an offer you can't refuse like this streaming services monthly charge for your new way to watch big budgets.

All blown up here in 'Trip Frontier' all the way down to the wire you can't see your foot touch like a landmine. Epic, explosive escapism is served here from some of the most soulful actors around. Who even though despite being devoid of some here, are all still purple bruised hearts with that courage under fire. The motor muscle of 'Sons Of Anarchy' star rider and 'King Arthur' himself Charlie Hunnam and thus hunk distinct tone provides amongst the growl some much needed gravitas and questioned conscience. Like he and Oscar 'Best Actor' Oscar winner Rami Malek did in the McQueen and Hoffman 'Papillion' remake. Or like when along came a spider in Tom Holland for the 'Lost City Of Z' journey with Robert Pattinson and Sienna Miller, that showed the real discovery in this movie was the relationship between father and son. Whilst 'Tron: Legacy' and 'Four Brothers' star Garrett Hedlund with a band of one's here, rain and soil soaked returns for his second string Netflix big picture after getting 'Mudbound' with one of the greatest stories of the last couple of campaigns, regardless of the platform. And he brings that same warm charm of southern drawled charisma, the abuse of vice still can't dull, no matter the circumstance that he had in that movie here. Scene jacking with a disarming, contagious smile or cowboy song. One of the best young, thirtysomething maturing leading men is one hit away from his own best picture. All this and then the crew is complete with dual 'Game Of Thrones' and 'Narcos' T.V. hitman Pedro Pascal, who has been making the small to big screen transition switch of late with the 'Kingsman' and 'Equalizer' sequel fares. And electric whip smart he is the great equaliser here too in this sum of parts. Providing the rounds for the best battalion of a blockbuster that on the surface looks as 90's nostalgic as Brie Larson's Carol Danvers', but below all that's hidden in deception reveals the war wounded soldiers of fortune who without one to call their own themselves looks to plant their own as the flag has forgotten them. This in some ways is rancid aluminium as real and raw as it gets until the merc is wiped off the mouths of these warriors coming out to play until the glass bottle falls and breaks. Bunkered against claymore odds that can't cargo carry past the great rocks of the Andes. The tension ratchets up as this chopper descends into moral quicksand on the four legs of some '12 Strong' donkeys and you can't horses ass tell who the bad guy is from wrong. Chandor's candor behind the camera may not be as compelling as usual, but it still draws you in for one last job, for better or hearse. War declaration signed, Navy sealed and folded flag delivered. TIM DAVID HARVEY.

Further Filming: 'A Most Violent Year', 'Black Sea', 'The Town'.

REVIEW: CAPTAIN MARVEL

4/5

The Marvellous Miss Danvers.

124 Mins. Starring: Brie Larson, Jude Law, Ben Mendelsohn, Lashana Lynch, Gemma Chan, Djimon Hounsou, Lee Pace, McKenna Grace, Annette Benning, Clark Gregg & Samuel L. Jackson. Directors: Anna Boden & Ryan Fleck.

Marvel need saving. In a snap, random decision Thanos cancelled over half of 'The Avengers' in 'Infinity War'. And then with a click of their fingers, Netflix made all those 'Defenders' disappear to dust like the skull and blood of 'The Punisher'. Also a sinking DC until 'Aquaman' have already beaten them and the 'Black Panther' to the all inclusive box office with 'Wonder Woman'. But never fear, I can think of the perfect Captain with the super makings of a hero ready to save the day. But I ain't talking about Steve Rogers Buck. He's too busy shaving off that beard. For this power you're going to need a pager straight from the 90's like crashing into a Blockbuster for your latest one. Remember when you rented instead of streamed? Those were the romanticised days that are now Nine Inch Nails like this hero's nostalgia band tees. So you know for an 80's baby like me, trapped in the 90's he sees as the golden era thanks to people like Michael Jordan and Tom Hanks, or things like 'Jurassic Park' and Semisonic (or is that Third Eye Blind?) this is the perfect movie. Rad...or whatever the hell we said back then. But this film means more than just the good old days to a geeky white guy staring down middle age, longing for the good ole days were he had more hair and less paunch. It's more than the true 'First Avenger' story that bridges the intergalactic gap between the earth's mightiest heroes assemble and those freaking 'Guardians Of The Galaxy' (shout out to some dead-er than Marvel standards characters doing the time warp again) a-holes Cap. It's even more than a film with the best train top set-piece action since Hugh Jackman's 'The Wolverine' caught a bullet after becoming big in Japan. Not to mention a 'Bullitt' time, classic car chase driven by the man that gave you the brutually best one in the Russo Brothers dynamic directorial debut. Now dynamic indie directors Ryan Boden and Anna Fleck (the amazing 'Half Nelson' and equally as cool 'Mississippi Grind' with an actor here and even 'Deadpool' himself Ryan Reynolds) give us a super superhero film that stands on its own atop the Marvel franchise as a whole. Changing the game and the previously ignorant Hollywood industry that is no longer playing that (Oscars so what? Okay, Oscars so 'Green Book'. I love that movie, but maybe they'll never learn). Just like 'Black Panther' did last year and DC's 'Wonder Woman' did way before all of this. As 'Marvel' becomes the first female-led movie after last Summer 'The Wasp' finally got co-top billing in the 'Ant-Man' sequel (which this shares strands of DNA fun with, just like this 'Iron Man' meets 'Captain America' without fists first film does elements of all the other diverse Marvel movies like it was holding all the stones). Look how far we've come. This is the same franchise that until 'Ragnarok' passed on a woman as a villain in 'Iron Man 3' as they didn't think it would sell movies (ahem, cough, every Disney film ever). Speaking of which this is for a franchise for an even bigger Mickey Mouse franchise who wouldn't package Rey (...REY?!) in their collection of action figures because they didn't think she would sell toys. Well look whose making you billions now, whilst those same decision makers are coming up with lint. And overdue apologies to Scarlett Johansson's ('Lucy', 'Ghost In The Shell'...you want to talk about leading heroes) 'Black Widow' but your time and movie is coming. Oh Captain my new Captain what more could you expect from the one woman whose going to save the 'Infinity War' day, ashes to ashes, 'Endgame' to dust? Sorry Aunt May!

HIGHER. FURTHER. FASTER. Fall down seven times. Get up eight. Try to catch up. And roll up those sleeves, because she can do it too. The brilliant Brie Larson is legacy making legendary as Carol Danvers' 'Captain Marvel' (I always knew superheroes had names like Carol mum). From Kree green, mohawk rocking Easter Egg tribute to the comics, to her own legacy making look. But even with leather and wood, porch to the stars comic homage, it's more than the Avenging aesthetic in this hero that stands up for women worldwide and young girls (shout-out to 'Gifted' child actress McKenna Grace. Who after starring alongside Captain Chris Evans as a 'Good Will' maths genius and as a young Margot Robbie, Harding in 'I, Tonya', is now the perfect young Danvers Marvel) to look up to in inspiration behind those eyes that glow like the power from her hands. It's what this iconic figure in comic culture and the now blockbuster, superhero movie mainstream means. Last year when watching 'Black Panther' this writer spotted a kid walking into the cinema dressed as T'Challa...and he was white. What does that tell you of the impact of movies like this? This year you will have people of so many diverse backgrounds and orientations coming as their new leader and Captain. And just like Chris Evans was born to play Steve Rogers. Robert Downey Jr was Tony Stark's Iron Man. Hugh Jackman was Logan's Wolverine. Ryan Reynolds was the Merc with the mouth Deadpool. And Scarlett Johansson was Black Widow. We could go on. Brie Larson was born to play Carol in this Marvel. Even if like all the others-especially the latter-her outstanding acting work in things like the independent hit 'Short Term 12' and her Best Actress Oscar winning turn in 'Room' demand so much more. So much so that she brings that Academy of drama, humanity and nuance to every note and emotion here. But boy is she M.C.U. funny too. Chemistry assembling with the patch-less, 'Do The Right Thing' desk-jockey of Samuel L. Jackson. On some Geena Davis, 'Long Kiss Goodnight' ride along buddy dynamic as the 'Kong: Skull Island' stars reunite without the real power of Tom Hiddleston's Loki. I guess he was reading a magazine. At this point with more movies than the millions he's made this mother###### doesn't even have to make another movie. Let alone this year, or a superhero one (see this year's twenty year smashing 'Glass' sequel that cracked the code). Or even a Marvel one (he may not beat Jackman or Sir Patrick Stewart for the Guinness of longest tenure, but he for sure beats them in most Marvel movies for a guy who films more pictures in a year than you take on your selfie smartphone. But this may be Jackson's best piece of Avenger action yet. Looking Michael Douglas and Kurt Russell Marvel younger with all his eyes on some Josh Brolin as Tommy Lee Jones 'Men In Black III', "what happened to you man". But he's not the only Marvel man to get the C.G.I Oil of Olay treatment. As after his 'Agent Of S.H.I.E.L.D' T.V. turn, an always charming Clark Gregg reprises his role as a young Phil Caulson in a Marvel movie for the first time since the original assemble saw Loki turn him into a shish kebab. Just one of the multitude of marvellous reasons this Captain shows "it's all connected". And don't blink or miss, look out for the suited, shotgun 'Pulp Fiction' homage from a man whose "tombstone" Easter Egg reads, "the path of the righteous man" for extra cheese.

Chewie in the comics, we all know the real 'Top Gun' star of the show is Goose the feline friend my mavericks. This cats got the bag. Even in an Academy of A-listers joining the Marvel, six degrees of superhero separation family. Like the straight outta Baker Street, elementary dear of Watson Great Brit, Jude Law. Who originally rumoured to be the original Captain Marvel is so underrated and good he deserves his own Marvel movie tentpole like he does a stirred chance as shaking it as the finest English Gentleman, 007 himself, James Bond (although Law, Jude Law had a great tongue in cheek audition as a suited and charm booted one in Melissa McCarthy's 'Spy' comedy espionage). Hey Jude, Law is exactly that here. As the GQ J-Law even offers a 'Hunger Games' esque training session spar with our Katniss. Although we're still disappointed that after this Marvel announced role, Dumbledore isn't playing his real iconic hero, Mr. Napkin Head. Or how about his Submarine greed submerged, 'Black Sea' co-star Ben Mendelsohn? Disney's, new go-to cult villain. Cape fear ravishing in 'Rogue One: A Star Wars Story' and now on double duty as one of those Skrull f#####s and his human counterpart. Leaving us just as green with bad guy envy, as Marvel finally introduce some of their comics most iconic villains, boldly going into the new life and civilisations of space. Where no man-except for Star-Lord has gone before-making way for the definition of Marvel in the comic-books Carol singing her way to stardom without an Awesome Mix volume or so much as a Zune. But how about an on par nostal-sick soundtrack that's not Garbage, No Doubt? Featuring a Smashing Pumpkins poster Easter Egg for my childhood. 'Mellon Collie' was the only thing I listened to on my Discman in college...yep that's how old I am (what's a Discman?). And speaking of 'Guardians' how about the villainous and not so return of Lee Pace and Djimon Hounsou respectively? Showing their love for their characters is just as returned as they are fan favourites in what serves as their own one-shot origins. Teamed up with 'Crazy Rich Asians' and 'Humans' star Gemma Chan on the form of her like as an alien with Gamora in 'Avatar' blue and bottle verte, Kree Captain Marvel origin suit and the blood they bleed. But Marvel's real wingwoman is former 'Fast Girl' and harrier jet fighter pilot Lashana Lynch's Rambeau fighter taking Alpha Flight, who like a right hand Falcon is the heart of this whole test flight. Even with a '20th Century Woman' legend like Annette Benning serving as one of the most powerful woman in the galaxy as fitting as when Glenn Close made a 'G.O.T.G.' cameo worthy of the biggest names in Hollywood or comic-book lore. And of course speaking of cameos...sniff. One of the last, lasting ones from the creator himself. The one and only Stan Lee and this terrific tribute. Excelsior like Wakanda and the power of Women Forever. All this and we still haven't scratched the surface of how good the cat is. But there's a perfect pun there we don't even want to play with. But those who run the world (CATS!) aren't the only ones honoured here on this International Women's Day release. As the military are too with a flag raising tribute to those who serve. And you can tell from the Air Force flyover at the films world premiere in reply how much this honour means. A Captain for our times that is a real Marvel. The real HERo we all need. Salute! TIM DAVID HARVEY.

Further Filming: 'Wonder Woman', 'Black Panther', 'Guardians Of The Galaxy'.

T.V. REVIEW: I AM THE NIGHT Mini-Series

4/5

We Own The Night.

6 Episodes. Starring: Chris Pine, India Eisley, Golden Brooks, Leland Orser, Yul Vazquez, Jefferson Mays & Connie Nielsen. Director: Patty Jenkins.

'Captain Marvel' soars to our screens this weekend with a 'Black Panther' worldwide, every boy and girl inclusive revolution to honour International Women's Day. But D.C. will say they got their first with Gal Gadot's 'Wonder Woman'. Because they did! And now before '1984', its director and supporting star Patty Jenkins and Chris Pine reunite (along with great Danish actress Connie Nielsen of this DC legend) before doing so once again with the explosive TNT, Dahlia drama, 'I Am The Night'. A California refreshed Pine is incredible. Whilst Jenkins vision of a vintage Los Angeles after Hollywoodland is 'Confidential' impeccable in this stunning, front seat and shotgun stakeout, slow burning, six part mini-series. A true events, half dozen serial on the bakers scale of Oscar Isaac's 'Show Me A Hero' on HBO, Taylor Kitsch and Michael Shannon's 'Waco' on Paramount and of late Benicio Del Toro, Paul Dano and Patricia Arquette in 'Escape From Dannemora' for Showtime. A prison break drama directed by the offbeat comedy gold of Ben Stiller of all fockers. It's no wonder after this the pair have former their own Jenkins and Pine production company always looking to tell stories together. As this neo-noir under the palm tree shade, bathed in neon jazz blue shows just how fallen the clipped wing angels in this city of demons really are. Unable to rise from the swamp and smogs ashes like their Phoenix Pacific coastal neighbors in this Californian wildfire of an L.A. in riot flames. Serving as an almost apocalyptic backdrop, self-absorbed ignored foreshadowing, storm coming warning like if this was going on today in this age of the social, heads down lost time. As the glitz and glamour gloss of an artificial world of Lost Angels covers up a numbing loneliness that it itself is stalked by something much more sinister lurking underneath by night.

'Monster' Oscar director Patty Jenkins bringing some metaphorical ones of her own in plain sight takes us back to the old California convertible and American diner soda West of a 1965 circa. Capturing it so cinematically in a Kodak flash of 35mm film which makes this one shimmer and shine in all its chrome reflections of the bright lights above. Going up against another investigational mystery, but with a crack journalist instead of a 'True Detective', Jenkins has her work cut out for her going up against two time Academy Award 'Best Supporting Actor' winner Mahershala Ali (the magnificent 'Moonlight' and this year's just lovely 'Green Book' best picture) who has taken the HBO series back to the brilliant Woody and McConaughey beginnings. The icon of Poitier or Washington heights also playing a man wounded from war, whose PTSD threatens to throw the aggravation of a constant anxiety into the order of the trauma he's trying to solve like our Captain Kirk and now Peter Parker (did you see the Oscar winning, 'Into The Spider-Verse?' Yep! That's him) Pine here underneath these iconic palm trees that have stood here longer than the Black Dahlia mystery itself. Patty, with the wonderful writing of her husband and showrunner Sam Sheridan and taking cues from both James Ellroy's 'Black Dahlia' novel source text and it's amazing adaptation starring Josh Hartnett, Scarlett Johansson and Aaron Eckhart, as well as Guy Pearce, Russell Crowe and James Cromwell's 'L.A. Confidential' (Connie Nielsen has deeper and darker shades of Kim Basinger's iconic angel in a white dress character), makes this period piece all her own with stunning landscapes and locations turned into iconic frames of perfect picture portrait that will be dark room framed as cinematic gems for time to come. But it's how she captures her characters that offers much more depth in its shades and strokes of dramatic art. A soldier come home to a life he no longer knows, with one he hasn't left behind that shows. Reporting on the Hollywood mundane in a Hawaiian shirt before he heads to those islands to investigate like a detective and play police when the real force won't cop to it (like 'Russian Doll', 'American Gangster' Cuban actor Yul Vazquez's perfect part as a literal beat cop, handing out the locked down beatdowns himself. Acting as another's hired goon muscle behind the badge). Working for a booze fuelled boss with a lot more under his Dick Tracy brim than whose got the next round of 'here's to forget'. A young woman struggling with not only the identity of where she came from, but who she actually is. A mother hiding her grief in the abuse of more than merely alcohol. A starlet socialite imprisoned by her jewels, riches and house in the hills. And a vile villain playing himself off like the haves of the Hollywood elite. But really what makes the very seeds of a seedy, sick side of this city. Cowering behind the slick so dark and dirty, like a smog struck nightfall as anything but a conscious calls.

Creeping like the sinister strings of the terrifying trailer by broken violin. Sounding like the turning of the dial on the vintage, cradeled telephone call that will change your life. The click, clack of the typewriter you try to rewrite it with. Or the swirling ice in the glass of something you shouldn't sip to your last drop. You are immersed in this black noir world of  'I Am The Night' the moment you draw the curtains to tune into it on the tube. And it's thanks to not only it's dynamic direction but a running with the night die cast. As 'Star Trek' and 'Jack Ryan' star Chris Pine (coming off playing a whole different type of leader as Robert the Bruce in Netflix's bravehearted and underrated 'Outlaw King' baring it all) brings more than his classic Hollywood leading man charisma and charm to this period piece that shows great chemistry with his director and the combustible drama with his co-stars. Pine may always have that look, even knocking on the door of this is forty. He can make a string vest, wool suit jacket and tennis shoes unlaced look cooler and somehow smarter than your Sunday best. But just like this story there is so much more than what's on the surface. As Chris shows like in 'Outlaw' director David Mackenzie's greased up and beard gravel Marlon mumbled down 'Hell Or High Water' (again an actor of directors favouring constant collaboration) shows just how great an actor he really is rapping on DiCaprio's porch. Behind the handsome Hollywood looks of a California surfing drift that never has to go home to dream alone once the tide comes in, is a troubled mind. One constantly haunted by the harrowing nature of what war is all about (young men taking each others lives) and what the real world he is sandbagged back into is really like today too (men who could be father's abusing what could be their grandaughters to blind eyes and forced hands). One beyond breaking point bar fight moment we're he loses it, holding your head and screaming in your face. Cowering under a table and hugging its inanimate legs like they were the human ones under it to what sounds like military gunfire. Is one as heartbreakingly rendered like Garrett Hedlund's mistaken moment of alcohol fuelled, sobering emotion grounded in 'Mudbound'. But oh how differently it ends. And this is why you're with him to said finale. Whether he's wallowing in his own filth or waking up half naked on the floor as the bottle rests on his sofa bed. Or even when he's sock cue ball cracking and socking a drunken sailor stereotype with the break. Under the pressure of unjustified disgrace brought on by those with the dollars to make people sense you will never work in this town again. Yet there's more to Pine's Jay in this post Gatsby party's over age than the violence behind the fire in his eyes. There's hurt and a need for and to help to solve this all too. But its 'The Secret Life Of An American Teenager' coming of age, Los Angeles born actress India Eisley who steals the show as Fauna Hodel. Gracefully maturing with her character before our very eyes. As hers show the soul of this story and her own in piercing conviction. She is the real hero of this piece and she needs no one to save her in this world today. She just needs someone to shoot straight and tell her the truth, trust that. Whilst 'Hollywood Divas' actress Golden Brooks can expect some Golden Globes for her chameleonic performance as a mother who is hiding a lot more behind that knows best disguised silence. Mums the word. Just like it is on what 'E.R.' and 'Se7en' famous character acting face Leland Orser on formidable form is trying to tell us through that newsprint. "Remember where you are". Or the narcassistic nature of 'The Ballad Of Buster Scruggs' and 'Inherent Vice' actor Jefferson Mays (with a performance as timely and traditional as his classic actor sounding name) in this narrative. Except we will reveal he's a dead ringer for John Cleese's Basil Fawlty with that pencil moustache cut more like an Adolf. But it's the big-three of Patty, Pine and Connie who really make this a Hollywood sign of the times. As Nielsen, this T.V. vet, 'Devils Advocate' and former 'Gladiator' queen is in character as by royal appointment as city of fallen stars, La La Land regal as you like it darling. But with so much more pearls of wisdom than what glistens around her neck and wrists. At night look up to the blinking skyline of lights in Los Angeles and it all looks like the future from the day you've just left behind. But look to those shadowy hills, blanketed by darkness in the distance and you can see this towns rich and what all that money does to people history. And with this lesson of what's fact amongst all the fiction, Jenkins and Pine give us a 'Night' that like this city, we will never forget. TIM DAVID HARVEY.

Further Filming: 'Wonder Woman', 'L.A. Confidential', 'The Black Dahlia'.