#SceneStealing BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN) (2020)

Quinn-tessential.

By TIM DAVID HARVEY

(For the latest in #FilmsForFridays' new #SceneStealing series we fantabulously emancipate a juvenile offender from the big house with Harley Quinn and the 'Birds Of Prey' last film we saw on the big-screen before the lockdown. WARNING: Specific scene spoilers follow). 

"I'm here to report a terrible crime...this one!"

White Nancy Sinatra boots that were made for walking, walk all over the police station. Swaggering to the soundtrack of an old dame walking into a Dick Tracy movie. DING, DING! "Can I help you" a resigned cop says beat, barely looking over his Buddy Holly glasses. "Why yes...yes you can" a lady with a 'Breakfast At Tiffany's' accent, coming dressed as Audrey Hepburn, complete with Thelma and Louise tied-up scarf says. Punctuating the reports of "a terrible crime" with a dip in her starlet sunglasses and a knowing raise of the eyebrows like a wink. "And what terrible crime is that", the desk jockey still not convinced, sort of enquires. "This one", Harley Quinn replies brandishing a shotgun and letting her trench coat hit the deck like everyone else is about to like chips in Vegas. Letting off a shot that puts this finally quick to (sort of) action donut boy back in his bean bag. But not before more eyebrow winks and a plush right between the eyes that breaks Buddy Holly in two like 'Peggy Sue' before the guitars begin to rock and we strip down see the former Daddy's Little Monster for all her emancipated worth, ammo of paint and power commando strapped around her like that hunky Wayne guys utility belt. "Danger. Danger." She casually walks into the lobby, cracks open her shotgun like a wishbone and loads it with another crowd dispersing bean bag in front of two officers talking. The one on the left like Captain America, that looks like Steve Austin, but has gone stone cold barely has time to stuff his donut in his face before Quinn's beans does that all for him as she kicks the coffee cup out the right man's hand like "meetings over", before putting her two cents in the function room. This time blue mist comes out like this headshot kills hangover style, but Dr. Quinn's taking prisoners in this police station as this former medicine woman knows that taking lives isn't an anti-hero's job...no matter what the 'Dawn Of Justice' thinks.

Piñata glitter comes out of the next guys chest in super slow 'Matrix' motion for this "please remove any metallic items you are carrying...keys, loose change", 'Terminator' takedown of a cop shop. She laughs then ball kicks the next guy, before turning his section into red mist, before using another detectives momentum to case close him. Coming out of a purple haze like Hendrix for her own madcap reign like when Prince dressed up as the 'Partyman' clown of crime in a cheap suit like Jack Nicholson for his classic 'Batman' soundtrack. Ooh wee! Loading and reloading this sawn off like a cut above the rest, even performing a no look glitter bomb straight out of Russell Crowe's '3:10 To Yuma' playbook in support of our generations bats, Christian Bale for the most exciting DC set-piece since he donned the cowl of the Caped Crusader like a stetson western. She's now going all Barry Bonds with this blunder buss (here's another hit) aswell as Shin Godzilla-ing the hell out of a bunch of roaring cops being hit below the belt in this K.O. All before she cartwheels and puts one of them down for good like the time Margot Robbie crippled critics as 'I, Tonya'. But save the podium place, because THIS unlike this year's Olympics ain't over yet. Another cop tries to come with a firearm...but there's no killing allowed in this line of duty and an aloud Harley like Davidson breaks his arm and then uses his back to mount the chopper and confetti a parade of police on her 6. I tell you the only thing Harley Quinn has done more than break this gun repeatedly in two is hell to shin do the same to the legs of most of this department. It's any wonder the hobbling Bobby can even getaway like a car he wishes he could cruise to right now.

"RUN PIGGY, RUN!"

Oink. He's troughed too. And you have to laugh at that one too as he starfishes in glitter like a kids art project with just the tiniest but of glue to make it all stick. "Where can I find Cassandra Cain?" She perfectly politely asks a room that seems a little more reasonable before giving it its own glitter bell ringing warning shot. "Cell 7," panics one cop whose played dress up enough times with his daughter to know he's fine in the uniform he's wearing now, thank you very much. Quinn draws a beat on him and walks up to him with murderous intent that her eyes are guilty of too. "Thanks doll," she says returning to her lovable rogue persona. "You're a peach". She heads for the block, but passes a WANTED poster on the way out like dead or alive. It's that Aussie stereotype named after a boomerang you may also know has 'Die Hard' and 'Jack Reacher' once star of the future Jai Courtney. "Hey. I know that guy!" Yellow 'Watchmen' paint balls the next cops smiley face into the red mark that iconic pin badge has just above as Harley makes her way to new holdings now. She needs to get in a control panel that looks like candy to anyone tempted by the 'DO NOT TOUCH" big red buttons comes into play. She patiently tries a few lightly touching like she doesn't want to break a nail (she could give a f###). The ACCESS DENIED bell rings more times than she likes. She's playing it like Jerry Lee Lewis did the piano. GOODNESS, GRACIOUS GREAT BALLS OF FIRE! Now it's the butt of the shotguns turn to play the chords. There it is. Open sesame...if sesame took a lot more seeds than you thought. ACCESS GRANTED. "Purfect!" Although albeit with a sprinkler malfunction trade off which always makes things more dramatic and cinematic anyhoo. No tears Harley you've got this. Slamming your way through the gates like a raptor and watching out for the predators between the cells that paint these walls like a gallery of rogues on the other side of Arkham. But with a sprinkler malfunction comes a door one and whilst convincing the kid she was after that she is yes, in fact the "psycho chick from the roller derby" all sorts of bars turn into open doors as the criminals want to dance with the Joker's former love. "HI BOYS!" Hold please. First one gets it in the neck. The second gets Yankee'd out the park. The third strike. Spun in a cart wheel that's could run rings and webs round Scarlett Johansson's legendary Black Widow take downs as her solo emancipation is put on hold right now. Soccer tackles and dentist appoitmements follow as she steel bars people like Michael Bolton, before using these cages like a wrestling match for some wet canvas takedown. Count 'em down. These prisoners are pinned down and Cassandra Cain can hardly believe it...she kind of likes it too. Like you know you do.

Thugs descend on the precient. It's clear the cops and the crims couldn't do a damn thing so it's time to hire some goons. "Who are you guys", Harley asks motoring her Brooklyn accent (and to think this comes from Aussie blonde 'Bombshell' Margot Robbie. Who along with Deadshot 'Suicide Squad' co-star Will Smith in a gambling 'Focus' against Hugo Strange himself B.D. Wong started this whole 'Scene Stealing' thing like fellow Aussie and superhero Chris Hemsworth performing an 'Extraction' in one-shot). They show her in reply...with bullets. Paint cans. Bowling balls providing their own strikes and whatever Harley can get her hands on is her Easter Egg arsenal now. Her gun chilling somewhere with those cell blocked criminals under sprinkler water. But then in a homage to 'Pulp Fiction' Quinn has three choices for the next strike. A chainsaw, that trusty, traditional samurai sword and *GASPS* an ACTUAL baseball bat. Here we go! Time for this major leaguer to go all MLB on these dugout dwellers. Eyebrow wink and shin again. In some classic cherorgraphy this side of Keanu Reeves' 'John Wick' throwing knives in his 'Parabellum' chapter, hold Harley down and she'll still climb criminals like stairs in this brutal bat ballet without the Dark Knight. Hiding behind a cane shipment (and we ain't talkin' 'bout Cassandra), this medicine woman needs that extra energy...and that's when she breathes it in like 'Deadpool' as bullets fly. Timer baked like a cake. PG-13 this is not set to. More raised eyebrows like flour. Say hello to my little friend. Coming out to 'Black Betty' like 'Spenser Confidential', or bam-ba-lam, Harley is charged now. Kicking a bad guy in the chest, both feet first as check BTS (behind the scenes...not my favourite K Pop guilty pleasure) and see Margot performing all these stunts her serious self. Barking like a dog as she puts bat to throat. Swashbuckling with it like a sword against these musketeers. Playing with them behind the back like Magic. Before braking legs back and forth like Gordon Hayward before the fourth and burning biker beards to ZZ Top this all off. BANG!

Kicking a phone into Rosie Perez's face this scene like the movie is far from over. But just like baseball bat's are Harley Quinn's signature weapon, Margot Robbie is her quintessential muse. And in this DC emancipation for all the Joker's that have played her ex boyfriend, from the late, legendary Ledger to a fellow Oscar winning, jokes on Joaquin Phoenix, there is only one Quinn. And that's 'The Wolf Of Wall Street' star from Down Under. Just how iconic she is, is as underrated as Jared Leo's modern love take on her pudding (and the 30 Second To Mars singers 'Outsider' big in Japan, Yakuza movie that sees him finally getting his revenge on his Batman Bale, 'American Psycho' killing, back in HIS apartment in 50's Osaka. But this time it's, "do you like whiskey?" Not Huey Lewis and the News). Marvel at comic book movies all you want, but even if M.C.U. rule the cinematic universe, you can't rule out DC like the Wizards of Washington. There was the criminally underrated 'Batman v Superman', the before 'Captain Marvel' and even 'Black Panther' game changing 'Wonder Woman', the underwater realm ravishing 'Aquaman', the BIG family friendly fun of 'Shazam' and even the Oscar winning (try that Cap) 'Joker' movie. And if that wasn't enough for 'The Batman' we all have so much faith in Zack Snyder's cut of the injust 'Justice League' that it's actually getting released next year...and David Ayer's 'Suicide Squad' wants in too. So why hate on the scene stealing dame to kill for from that movie before 'Guardians Of The Galaxy' director James Gunn deadshoots a sequel with a reloaded Idris Elba in this sin city of Gotham? They complained about the title, but we ain't changing it. We love it. 'Birds Of Prey and the Fantabulous Emancipation of one Harley Quinn'. Besides you didn't have this problem with Batman Michael Keaton's 'Birdman', or 'The Unexpected Virtue Of Ignorance' and when you go buy a cinema ticket what do you say anyway? "Two for that new Batman one." Right? The cinema, remember that? This was actually the last film I saw on the big screen before the lockdown (we got it a little later in Japan) and in quarantine I started to take it back to the movies we missed and features like this (which we won't stop, but hopefully may not have to do as much of soon. If you know what we mean). Bet you wish you didn't talk so much s### about underrated blockbusters like this now don't you pudding. All I know was what a last swing to see before cinemas were strike three out of there. I had so much fun and the epic energy reminded me of why we love the big screen and big blockbusters like this, especially in the superhero genre, (Sorry Speilberg and Scorsese) and I can't wait for it all to come back like 'Wonder Woman 1984'. But if it doesn't. If this is our emancipation from big ticket prices and sticky seats (don't act like you don't miss it too). What a big bang to go out on. Fantabulous!

#SceneStealing ROMEO + JULIET (1996)

To Piece, Or Not To Peace.

By TIM DAVID HARVEY 

(For the latest scene of #FilmsForFridays' feature, #SceneStealing-were we breakdown the best scenes in films in more detail-we ask, "where art thou Leonardo" as we go for a pit stop with the gassed up opening shootout to Baz Luhrmann's 1996 classic modern take on William Shakespeare's 'Romeo + Juliet'. WARNING: Specific scene spoilers follow.) 

"Peace...Peace? I hate the word. As I hate hell. All Montague's (*stubs out cigarette with steel heel*) and thee. BANG!"

Bite your thumbs at this. 'Get Down' with amazing Australian ruling director Baz Luhrmann and you may find a Netflix series or two amongst his recent work. That also included an inspired Chanel No. 5 commercial directed with beautiful Brazilian model Gisele Bundchen to the scoring soundtrack of singer songwriter Lo-Fang (his brilliant 'Blue Film' follow up 'Near Other Worlds' came out near the start of this month and moves in a whole new, epic, ethereal direction) giving multiplying, new chills to his electrifying version of 'You're The One That I Want' from 'Grease'. But we all know Baz's big-three is the gaudy art-deco remake of 'The Great Gatsby' starring Carey Mulligan and old sport, Leonardo DiCaprio, the movie musical before all 'The Greatest Showmen' and 'Cats' out of 'La La Land' in the 'Moulin Rogue' of a beautiful burlesque and of course his ode to Shakespeare in his globe reaching modern remake of THE classic love story, 'Romeo + Juliet' starring Claire Danes and again as Michael Jordan puts it, the star of 'The Man With The Iron Face', Leo. And who could forget his native 'Australia' starring Down Under's own Hugh Jackman and Nicole Kidman? But if that wasn't enough the man who told you to "always wear sunscreen" (seems apt this year as no one is staying their a## at home) is working on an 'Elvis' film with Tom Hanks...well the 'Hologram For A King' star isn't playing the King thank you very much, but still. Still it's all about the two star crossed lovers when it comes to Baz's magnum opus and DiCaprio and Danes nail every line like their lives depended on it or Professor X and Picard himself, Sir Patrick Stewart reading a Shakespeare sonnet to us on Twitter everyday of this qurantining. Locking it down and making it so. But between all the scene stealing, from 'The Matrix: Reloaded' star Harold ("make it a word...and a blow") Perrineau as a moving Mercutio ("a plague on both your houses") after young hearts ran free (Ba, Ba, BAAA!) in drag my queen's, to the one and only 'To Wong Foo. Thanks For Everything! Julie Newmar' star John Leguizamo, nothing is as showstopping (apart from how astronaut Paul Rudd never ages. He must have been lost in space and then doppelganger 'Astronauts Wife' replaced like 'Living With Yourself') as the opening pit stop scene in a gas station that exploded this play onto the big screen like petroleum.

Phoenix petrol station and flames are about to rise like Harry Potter ordered six McChicken nuggets. A Lakers yellow truck as big and bulky as a JCB pulls up to the pump like its about to lift the whole station above its head. The Verona Beach plates rocking, reading, 'MON 005' have nothing to do with not liking the first day of the week. A bunch of bleached and dyed boys in shirts you'd only find on Magnum P.I. or 'Stranger Things' chief of police Hopper's closet jump out. No tache, not even a hair on their open shirt chests. Boys...playing like men. Lead by the strongest of them all, 'Ray Donovan' star Dash Mihok and somone who looks a lot like Jamie Kennedy. "The quarrel is between our masters." "And us they're men," they frat scream at each other, as close as the 'Top Gun' dog-tags swinging like dick, the only thing they wear on their chests. Another car pulls up, purring like a tiger or Mustang. It's all American denim blue, except this beach plate reads "CAP" where the "MON" should be...and it's got nothing to do with the stars and stripes of Steve Rogers my captain. A steel cap heel steps out like it's about to light the concrete like flint. The kind of heel I should heed on the back of my feet dragging down to the socks shoes. It stamps out the cigarette this Montague has just disregarded like Bruce Willis vests and here is were before the 'Killing Eve' and everything else trend we are introduced in bold font to, "The CAPULET boys." The coolest looking cats you did ever see. Walking into the station like the spurs of a saloon, Sergio Leone like whistling music playing as all the lovestruck girls giggle. "Humble, bubble toil and trouble" one in leather says, stalk swaggering after a sister (a literal sister act...this nuns on the run now). "A pretty piece of flesh I am" the Montague's reply in kind to the religious, over a famous rock track. One humping the back of the truck like a downward dog as Jamie Kennedy experiments with licking his own nipple. Screaming. Eye glasses gestures. A car speeds away and then Abra-cadabra like Stephen King's 'Doctor Sleep' this Montague comes face to face with the yellow sunglasses house of Capulet (a captivating Vincent Laresca). Quarrel.

Shirts are open, but swords aren't drawn. Because these knives carry six. A pink Rodman haired Kennedy looks at his Montague brothers exposed sidearm. Beautiful artwork on this brutal handle reads Montague. They're scared. Abra simply opens his leather jacket as casual as if he was about to give it to a maitre d' at a restaurant. But it's someone else who's about to be served. His handle reading, "Capulet" on its coat of arms, religious crest...and we ain't talking 'bout Twitter. He hisses. His metal grill reads, "SIN". The Montague's recoil into their backseat like a snake has just struck. "BOO!" Says the Capulet like a goose. Laughing and joking with his brother at how he just got 'em good as they get back in their ride. The Montague boys looks more than embarrassed and then Jamie makes balls good on his dare to bite his thumb at thee and it's all a case of Shakespeare in the park like Thor and Loki with avengance. But no ones wearing mothers drapes. The Cap car spins round in anger with all the horses saddled and drawn. The fear goes back into this kids crazy heart. He pretends to pump gas. Wait a minute...he actually needs gas. Forget about it. No time. He goes to jump into his car. But overshoots it. Just comedy legs hanging out of a barrel. The cucumber cool even when hot wing enraged Capulets spin into smoke and get out their vehicle like a music video, storming up. The grill of this stallion simply reading, "Executioner." "Do you bite your thumb at us sir." Erm! "DO YOU BITE YOUR THUMB AT USSSSS...sir!?" Quarreling, thumb biting intention and whose better is shouted back and forth in this pissing contest as accusations are thrown around like lies, until their kinsman comes forth like Colin Firth, cocking the hammer and swinging his sword. Drawing a beat on anyone in the sight of his line of fire and telling these fools they "know what they do", as Benvolio Montague gives us a lock stock view of his "Sword 9MM Series S" before barrels start smoking like Guy Ritchie gentlemen. Think he's in control like a loaded Jamie Kennedy when the woman in the car he hides behind hits him one too many times with her purse? Then just you wait whose that stepping out of the station like a saloon. It's time to "add more fuel to your fire" like the saloon door swinging Phoenix Gas sign on the nose reads in harsh, jarring metal as a rocket sounding cigarette is lit like a phoenix and steel caps put out the ash because open flames work as well in a place like this as your plastic. "Heartless hinds," Pretenders like Chrssie. Tybalt sneers with more than brass in his pocket. Tut-tut-tutting and opening another jacket so slickly, like he was cooling himself off. Revealing two Capulet coated arms this time, bordering a bulletproof vest with Christ the redeemer upon it. "Look upon thy death".

Peace? Sneers. Contempt. Quarrel. Now this gas station scene has got even tenser than the sweet wrapper unfolding one in 'No Country For Old Men' were the cattle prodding bowl cut of Javier Bardem asked that kindly shopkeeper what's the most he's ever lost in a coin toss. Call it! Swords are put up (and when these guns are drawn they clever creatively actually sound like swords) as a scene stealing and owning John Leguizamo gets his 'John Wick' on like the Keanu chapters he co-starred in for some better bullet time than 'The Matrix'. Unholstering his first dagger and spinning round to a scared kid dropping his toy ray gun like he's about to his lunch as his mother screams. The face of death looking back at her boy standing in a vogue struck pose straight outta renaissance painting. Cigar hanging out his mouth like a Puff Daddy cocktail stick. Take that, take that, take that. Close. "BANG!" Reholstering one piece before drawing another that takes the peace right out of the lead Montague's hand. Tybalt executes a spin move that changes hands like Jordan against the Lakers..."executes", being the apt word here as forget a last dance he reads last rites with the Lord watching. He spins and pirouettes some more in this bullet with butterfly wings ballet. Raising his arms like cranes and spraying like cane. No one knows what to do. Except the lady in the car who resumes handbag clapping. Jamie Kennedy has had enough like in the 'Scream' sequel. He wails the same. Ducking using cover and letting feathers fly everywhere. Yet the only thing the man with the golden gun hits our oil cans and spinning signs like targets at a carnival. Meanwhile Tybalt dodges like Neo in slow motion. Falling to the floor and if you've read John Leguizamo's legendary foreword in Shea Serrano's sensational 'Movies...And Other Things' book you'll know he's looking for the mattress safe spot to land behind a cab straight out of Tom Cruise and Jamie Foxx's 'Collateral' damage. John had had enough of bruises on his feet after night after night of spinning glocks around the clock in hotel rooms for practice. But it's all worth it as Leguizamo in a legendary moment that is his legacy stops, drops, rolls, plays with his gun like its a yo-yo, switches sidearms again, throws one in the air and catches it with the confidence of a club singer flipping his microphone. Hand over heart drawing another pose as cars bail and oil spills all over a deck hit Benvolio like he's about to be the next Harvey Dent before the Two Face of a 'Dark Knight'. In all this car carnage and 'Deepwater Horizon', Leguizamo strips off his suit jacket revealing Jesus, falls to his knees like begging please, rolls up his jacket and throws it to the side like he's getting ready for tomorrow's laundry. Flashes his other guns under his snakeskin straps. Loads his pistol whilst a woman behind him in the back of the cab hammers the window in scared protest. Kisses the Virgin Mary in his handle with passion for good luck and rises up, slowly like a sniper. Spots the yellow eyesore making plans like a getaway truck and shows their plans he's 2020. As with a Montague in the rearview visions of his shooting sight, this Capulet captures him dead. Dropping his stogie stub on the oil below. BANG!

Two tribes going to war from two households, both alike in dignity. And then as the opera plays like the phantom, we all know what happens next in fair Verona, where we lay our scene.

REVIEW: CAPONE

3/5

Touchable.

104 Mins. Starring: Tom Hardy, Linda Cardellini, Jack Lowden, Noel Fisher, Neal Brennan, Kyle MacLachlan & Matt Dillon. Director: Josh Trank. 

Gold Tommy. Diaper. Carrot for a cigar. Growling like the cowardly lion following the 'Yellow Brick Road' memory lane of quoting 'The Wizard Of Oz', line-by-line with heart. Projector behind him as his spotlight for the second most iconic moment of a movie that may not have soul or substance, but has style in spades for a man who all cards on the table is playing his last hand in this last dance. Lumbering around in a robe like a prize fighter in walk out music visuals, punch drunk and about to swig swing for his final round K.O. The Kray's twinning double-act 'Legend' Tom Hardy is 'Capone'...but not how you know the gangster legend of Kevin Costner's Elliott Ness and Robert De Niro with a baseball bat's 'The Untouchables'. In a brutal 'Bronson' like fever dream that's more like a nightmare for the crime capering, 'Peaky Blinders' and 'Taboo' showrunning, mob hitman. "I came here for a f###### shootout, right," like the "Krazy" Kray Reggie says. "Like a western." And when you see Tom with the Tommy-Gun around 'Fonzo's' famous Florida mansions, moat surrounded by alligators press, police and all sorts of predators, you know he's not going to use it to bake you a cake. Instead the man who's getting all sorts of housewives hot in these desperate quarantined times by reading children's bedtime stories on the BBC is laying everyone to rest playing the most famous, public enemy number one and Scarface, saying goodbye this time with his little friend. As dementia sets in like the sun coming down on this former threat, put out to pasture following his escape from Alcatraz to a foggy cerebellum (like Wesley Snipes in 'The Expendables 3' what did they get him for? "Tax evasion!"). Compared to Hitler the only difference with this mob man being that he is "still alive"...for now. The gangster Godfather like Brando or Puzo.

Untouchable, but touching cloth. You'll s### yourself when you see Tom Hardy as Al Capone. As he soils himself like he was gardening like Don Corleone's demise. But out in the back yard the only thing this gangster is doing is a thousand miles starring into the middle distance. 8 ball eyes with visions of his friends gouging out their own like Johnny Depp's last stand in the 'Desperado', 'Once Upon A Time In Mexico' sequel. And whose that boy he keeps seeing down the road? Him? His son? There are visions in this movie that will stay with you like the submerged ones in Jamie Foxx's 'Ray', but this brutal biopic plays different Sam. Compelling when not in caricature mode, or in terrific transformation of the physical, this is one of Hardy's best for a man who has played everyone from characters like the Bane of Batman's life (who like a 'Ford vs Ferrari', 'Machinist', or the 'Vice' of an 'American Hustle' is following a Christian Bale physical career trajectory) and the 'Fury Road' of Mad Max. Mumbling his way through some incoherent inspiration like a 'Lawless' outlaw again and showing us that the lines lie deeper than the ones you can see on his face like a wrinkle in time. Spitting venom in a 'Locke' like situation lockdown we all feel socially isolated in right now, this guy with a disease that is killing him like corona shows us the destruction of a man's mind is maddening...especially when it belongs to an evil one with more dark recesses than most have skeletons in their closets. The 'Inception' and 'Warrior' actor who has excelled in epics like 'The Revenant' and the Dennis Lehane crime classic 'The Drop' has played perfectly both the comedy and tragedy side of Charles Bronson and BOTH Kray twins for his 'Legend'. And here he shows the culmination of this couple for a classic character that deserves better...only in the measure of this movie. Balding with sallow skin that looks like its been turned inside out like his stripped mind, there's no sympathy for the devil here as the gathering moss means this rolling stone stops in his tracks and the licks he took at people like their lives. And now with his on the line, crawling over all the water logged bodies in the rain like how they've weighed him down on his road to perdition, it's time for him to meet his maker and all the sins he's fathered.

Jadakiss once rapped, "gangsters don't die, they get chubby and move to Miami." Whilst also chomping on cigars and having Louis Armstrong perform for them. But we don't have all the time in the world anymore as other stars trumpet the brass balls of this solid effort. There's 'Green Book', 'Dead To Me' and 'ER' great Linda Cardellini always on fine form and stepping beyond the clichéd stand by my man wife role Hollywood gives out...albeit if she is a little criminally unused here. She always makes millions out of the spare change scenes afforded to her...and oh how it pays. Whilst '' 71' and 'War and Peace' actor Jack Lowden brings more of this in this war of wills, like 'Hatfield's and McCoy's' actor in this wild world that like General Custer is a saloon of violence. Even 'Chappelle's Show' co-creator and '3 Mics' Netflix standup icon Neal Brennan shows up, as serious as Capone's lawyer...despite the s### he gets. And then there's 'Twin Peaks' and 'Dune' legend Kyle MacLachlan (most recently soaring in Steven Soderbergh's iPhone shot Netflix basketball drama 'High Flying Bird') as a Doctor and the perfect prescription for the period piece look of this. But it's 'Flamingo Kid' Matt Dillon who pushes this over the edge as a friend of Capone's ugly mind. The 80's icon, most notable and noteworthy memorable last seen in the conflicted and controversial Oscar winning Crash, the 'Twin Peaks' like 'Wayward Pines' FX series a half decade ago and the Grammy nomination for his narration of Jack Kerouac's 'On The Road' is back on this one in a classic car that like a thunderbird makes for the most amazing automobile. But it's the 'Chronicle' of breakout director Josh Trank who is behind the wheel here with Venom and Bane and the rebound to his much maligned 'Fantastic Four' reboot, which had a lot more potential than invisible in ignorance critics gave flaming hot credit for. But this thing is something else entirely from the superhero director when it comes to this Kingpin villain complete with a cane. Rock hard like the rubble Capone's life was left in even in the parlour of his palace, this might be a stretch, but is shows just how elastic a director Josh is. Trank will belong with the statues one day like this movies opening even if they are being baliff lifted. No dart could take him out. Like Capone he'll do that all on his own terms. Rotting at the core like this man's mind, this notorious film may not be B.I.G., but this big poppa will still leave you hypnotised. You can touch this. Close...but no cigar. TIM DAVID HARVEY. 

Further Filming: 'Legend', 'Bronson', 'The Untouchables'. 

DOCUMENTARY REVIEW: THE LAST DANCE

5/5

The Last Waltz. 

10 Episodes. Starring: Michael Jordan, Scottie Pippen, Dennis Rodman, Phil Jackson & Chicago Bulls. 

Come fly with he. Let's fly, let's fly away. He being the G.O.A.T. The greatest of all-time like Sinatra. The chairman of the board. Sorry King and with all due respect to the late, great (what is this fate?) Kobe. But they all wanted to be like Mike. Hear it from forever 24 himself in one of the most sobering, emotionally blindsiding moments of this whole series (so thankful I was coincidentally cutting onions at the time) when talking about the original 23. M.J. a thriller like the other Mike, Jackson. Now who's bad? At its purest you best believe Basketball is an art form and Michael Jordan made the Spalding (whoops. Wilson now like Tom Hanks' best friend. WoW!) his instrument. 'The Last Dance' his symphony. All in a shrugs work (and wait until you see the real master of this). And now you can play it in every household he became a name in like the game in your backyard, throwing up shots like you believed you could fly, now shouting, "KOBE" in tribute. You better make it. Mamba mentality remember. Never out like the rumoured documentary footage from his last waltz we can't wait, or would love to see. As ESPN's latest top ten, 30 For 30 has been made available everywhere (i.e. Netflix) as chilling at home in lock down we no longer have to scroll through the streaming service for a show or movie to watch with cinemas closed. We have our top pick now...and we aint talking about Sam Bowie. Top ten across the world as our days go round in circles like the globe, or the spinning Spald...Wilson this guy owned and honed like he was from Harlem...close. This New Yorker made Madison Square Garden the World's Most Famous Arena like the Delta Centre or Byron Russell, (that push off move on the headline intro, 'Dark Knight' scored that we will never skip Netflix like the 'Stranger Things' one straight looking like a Bruce Lee move. After I wrote this news of his 39 For 30 'Be Water' came). When Money had the ball it was more than cash and profits for the post Bird and Magic golden era of hoop dreams which Netflix are about to see why and just how much for a show that even people that don't like Basketball are finding compelling due to this man's court creations. Remember those Converse you wear...Basketball shoes. Everytime you post a "Throwback Thursday"...that's a hoops reference. If you want to get better at something you should always study the greats. Jordan, Kobe, Ali, Prince, Springsteen, Scorsese, De Niro, Pacino and so on. The Beatles. The Chicago Bulls. And the most sought after, greatest thing on Netflix since 'The Irishman' is one of the only saving graces of this quarantine, like the BBC bringing forward their signature series, 'Killing Eve' starring Jodie Comer and Sandra Oh. But forget Eve. This is all about Mike and his last Bull run out the Bullpen. Because nobody had a killer instinct like Mike. The ultimate Villanelle like Jerry Krause the villain of this. This is history for our generations like world wars. But no one had a fight like this. You can see it in his eyes when he cries. No meme. "Break!"

Let's dance! The Bowie (not Sam) sampling classic 'Been Around The World' by Diddy ("if this is our last dance we need to practice our steps." Guess the song with Brandy) when he was the Puff Daddy and the Ma$e, Notorious B.I.G. Family plays like you just know this show is going to be a classic like the soundtrack that needs to be a Spotify playlist if it isn't already a number one, one. All to lay the Chicago town scene and introduce us to all the untouchable characters like Capone or Elliott Ness. Just like introducing Scottie Pippen and that iconic dunk over Patrick Ewing to the subwoofer of your speakers with all that bass in his voice. A man who was more than a Robin sidekick to Jordan's Batman, but maybe one of the most underrated and greatest ever. Even of at the time he was the 122nd highest player in the league. Do you know who the 122nd highest paid player in the association is today...exactly! And how about Dennis Rodman..."wassup!" Need we say anymore? The introduction takes care of all that. Is it because he's different? More entertaining than trying to find your best friend in Vegas after 'The Hangover'. BOOM...he's here. And then BOOM! He's back there. He's everywhere. And then of course there's the man who orchestrated this all in this last season for a team in search of it's soul, the Zen master Coach Phil Jackson. But is it bad that this Laker fan wanted a Ron Harper and Horace Grant episode in a laundry list of famous and not so teammates (but I'll settle for Harp's "f### this bull####" when as a Cav he couldn't get M.J. for the shot and Horace's Cosby like reaction to Magic teammate Nick "Choke" Anderson saying "45 isn't the same as 23" for that jersey change. Or how about Mike's friendly joking banter with Grant and a referee during the playoffs that he doesn't see Horace that much at this time of the year. Straight savage)? Or his interaction with the Hollywood G.O.A.T. A young Leonardo DiCaprio (I want to see a M.J. so petty that when DiCaprio corrects his "The Man With The Iron Face" comment he hops in a DeLorean, takes it back to '95 and hangs 63 on Leo's character from 'The Basketball Diaries'. "Okay, you want to correct me. That's fine, no problem." Imagine building a DeLorean just to go back 3 years. Hash-tag, "petty"). From big shot guards like Paxson and B.J. Armstrong. To some of the best courtside contributors in this documentary that has everyone from Nas comparing copping Jordan's to having a lightsaber off 'Star Wars' and some former Chicago resident called, Barack Obama (not to mention Bull, Bad Boy and our man John Salley amongst all the Ahmad Rashad's and David Stern's (Rest Peacefully) in Bill Wennington and Jud Buechler (who if they ever do a 'Last Dance' movie needs to be played by Ryan Reynolds himself). And who could forget Warriors coach Steve Kerr (but when they get to his episode and past, prepare yourselves. This guy really is the bravest beyond the game on the line. Which makes his trademark humour and heart that much more in the face of tragedy inspired) and his hilarious response to the reason why the Bulls are so good and maybe the big-three's real third man Toni Kukoc? One of the first and groundbreaking Euro players that have made the game what it is today. Word to the name on the back of Kevin Durant's black Bulls jersey. Seeing the forgotten outcome to when he was given the last shot instead of Pip has the nail biting excitement of watching a real live game during this lockdown were there's a chain on the gym like 'Coach Carter'. And then there's the love story that started in Paris without a hug and ended as the G.O.A.T. of friendships in Scott Burrell. But back to the music in this dance like the shifting time lines. Forget Oreo's, there's LL Cool J's 'Bad' whilst crushing the Celtics like a building on pink plastic for 63 like it was God disguised as Michael Jordan. 'Partyman' by the purple one like The Joker, Prince off his 'Batman' soundtrack for the King before the purple one. There's so many more classics like Chicago's own Alan Parsons project introduction dance that we don't want to spoil for this scoring soundtrack of a series like KRS-One and Eric B. and Rakim paid in full for a show that ain't no joke. But we know whose going to have the last laugh on 'The Last Dance' like handing an iPad to the greatest and showing him that the glove of Gary Payton (and how about David Aldridge talking about how we should save the Sonics (don't skip this. Or Breanna Stewart of the Storm's teacup reaction to Joe Budden saying Seattle needs a Basketball team...and that's the tea) thought he could fit when it came to his trash talking, Hall of Fame defence. It was all O.J. for M.J. No doubt about it. No one did it like Mike. The only one who really had a hold on him was his mother...and of course his father, James Jordan. One of the best and most beautiful moments of 'The Last Dance' (especially for this writer a thousand miles away from home in Japan) is where Michael lovingly watches his Mum read a letter he sent from college, apologising for the phone bill and asking her for money and stamps...you know typical student stuff from a man who could retire off one Jordan shoe alone (left or right). There won't be a dry eye in the house as it's all smiles. But then it becomes all too tragically heartbreaking. 

"Starts off with hard work, ends in champagne," says the man who was back like two words and how much that all means like reading more into this philosophical quote that should belong in his history like the rings and the book of Basketball accolades as more than a footnote for a documentary that's the perfect partner to Roland Lazenby's biography on 'The Life' of this man. Here comes the ball towards Michael Jordan. Its travelling faster than usual. Like a Magic past from a man he went to the Olympics with, making jazz like Bird in Barcelona '92 for something that was all a dream like B.I.G. said it was. But Pop! Mike still catches it...with a glove. And we ain't talking about Gary Payton. The ball comes back to Mike and this time he SLAMS! He slams it with a bat. Knocking it out the park like Wrigley Field. Wait...what?! Before 'The Last Dance' a Michael had one or his own a few calenders before as he walked away from the game and rightfully so after his father, James Jordan went missing and was later found brutally murdered. And whilst in mourning and trying to grieve in private the media were out trying to pin the murder on Michael's gambling addiction and false claimed debts. Now imagine what that would be like today in the cruel world of Twitter trolls and keyboard "warriors" who are about as brave as Trump. Mike took his ball home and picked up sticks, trying out for Baseball as that was what his father always wanted to see his son do. Now how beautiful is that? Changing his body Jordan earned his 45 and time on the diamond, asking for no special favours (the ESPN '30 For 30') goes into much greater detail. But still critics chose to hate like the time he came back for one last swan song as a Washington Wizard because this still scientist of the X and O lost a step of fresh air. Little did they consider that the man who said he was 99.9999% sure he wasn't coming back in 2001 played for free and donated his whole playing salary to the 9/11 relief fund (it's about time we mention he's not getting paid for this either. Donating his money made of this series (4 mill after just Episode I) to the Coronavirus relief fund) and you still want to talk about his "republicans buy sneakers too" quote. Michael could have made the majors with his baseball swing, going for the fences. But the only reason he "came back wearing the 4-5" like Jay-Z was because baseball was trying to exploit his name whilst he was standing up for the little men of the league going on strike. That was number 3 and M.J. was out of there (again little is made of that whilst a lot is made out of why Basketball's G.O.A.T. wasn't the greatest of all time trading the roundball for rounders). Not because he had a game to play with Bugs Bunny. But after 'Space Jam' Jordan came back and won it all again...on father's day. But face down crying on the floor, cradling the ball like a newborn child wasn't the last indelible, inspirational image of influence we'd have for the man with the gold necklace and cut cigar in a coffee cup as he swung a bat in a Bulls warm up. How about when "sidekick" Scottie really had his back in the "flu" game? Which we now know was 'The Food Poisoning Game'. When Michael sliced everyone up for 38 after some bad pizza. Or Slam Dunk Contest taking off from the free throw line and the human highlight film of Dominique Wilkins to all the air of Nike up there as he came and flew. No Michael would save us one last dance like you shouldn't in your Netflix list. Continue watching right now like all those treasure trove, golden age YouTube highlight videos that show you we can still wait for one of the best NBA seasons in recent memory to return...and this is a Lakers fan saying this. And it ain't over. Even if the dynasty was (their death coming premature. Imagine if the NBA never came back from COVID-19. No LeBron. Or Giannis. It was kind of like that would be). On the 20th of May ESPN will treat you to the curtain call of 'Game 6: The Movie', filmed on 'Last Dance' documentary cameras, to be seen for the first time. 'The Last Dance' represents the good ole 90's, pre-Trump cynicism of the American Dream that everyone wanted like Obama coming back wearing the 4-5. This is the greatest basketball documentary of all-time about to take home Oscar like Larry O'Brien. Dear Basketball. It doesn't get much better than this. Dance with me. TIM DAVID HARVEY. 

Further Filming: 'Come Fly With Me', 'Jordan Rides The Bus', 'Celtics/Lakers: Best Of Enemies'. 

REVIEW: ALL DAY AND A NIGHT

3/5

Daylight.

121 Mins. Starring: Ashton Sanders, Jeffrey Wright & Yahya Abdul-Matten II. Director: Joe Robert Cole. 

"F### off me!" There's a moment in 'The Equalizer 2' that should have made our new 'Scene Stealing' feature breaking down the best scenes of movies in more detail. So here it is. "Do you know where the f### we at?!" 'Moonlight' star Ashton Sanders asks (warns) movie legend Denzel Washington. "I do...do you?" The Academy Award winner counters in an Oscar moment as he takes in the graffiti and the pissy hallways of the projects around him. "Is this what you want", Denzel asks again mere minutes after saving Sanders with two guns from taking part in a drive-by initiation which would have seen him join a gang and part with his dreams...and probably his life, for good. "I thought you wanted to draw?" "DRAW?!" Sanders replies almost mockingly after arms were just done so. "Is that s### gona put food on my f###### mom's table?" "You need to be gangster...okay. If that's what you want to do. Let's get jumped in right now." CLICK! Washington takes the safety off. "Start with me." He tries to hand a refusing Sanders his weapon. "Come on killer". He prods him in his vest chest with the gun. "Put it right there". He puts the gun in his hand. "There you go," he says like feeding a baby food. Puts it to his head right between the eyes using Sanders hand. "Five pounds of pressure that's all it takes." Ashton won't do it, despite the "c'mon gangster" mocks and this dynamite actor with a fuse ready to blow is a coiled spring as he walks away gun in hand, tapping it on the elevator door that almost took him and dragged him down to hell. Denzel with the same reassuring fatherly tone asks for the gun back. He tells Ashton the people on the other side of that elevator are liars...and guess what? He is too! As he wraps his arm around Sanders and puts the same gun to his head, daring him to tell him what he sees when he looks him right between the eyes like the big boss he killed in the first film. Ashton goes from 0 to 100-if 0 was all his pent up, macho bravado bull#### rage and 100 was every fear he ever had-in a second as the life flashes before his eyes. "Man ain't spelt G-U-N son," Denzel Washington says in one of the greatest lines of his G.O.A.T. career. "You got a choice," he carries on lowering his gun, teaching him a lesson as it's just his loving arm around him now. "You got a chance". "Use it whilst you're still alive," he says, pulling him in with emphasis. "You don't know what death is". Temple to temple he gets right between his eyes. "YOU HAVE NO IDEA WHAT DEATH IS!"

Just two heavyweight actors, young and old, but in the same class. Emotionally boxing in the same scene together. All for a good movie...but an even greater moment we hope people who really don't really go to the movies anymore get to see. It's the different animal, but same beast of a performance, Sanders put into one third of the Little 'Moonlight' movie that wasn't just another Best Supporting Oscar moment for 'Green Book's' own Marhershala Ali, but also the biggest Best Picture at the Academy Awards no matter what you think you read in that envelope Warren. Like the moment his bullied mercilessly character is walking home and with all the pent up rage wants to hit back to all those emotional and nerve shredding attacks. But he's just on that road alone. Until he finally does exploding in a rage that breaks apart a chair all over the same bully who the previous period made two friends fight each other to the death of their friendship. This kid would never be the same again, as new 'Predator' and 'Bird Box' star Trevante Rhodes showed. Just like this young 'Straight Outta Compton' actor and forthcoming, untitled Fred Hampton project star who is on a next up, Lakeith Stanfield level of legacy making talent this side of 'Atlanta', or the Carson, California City Ashton comes from. But right now he could really use Denzel Washington's great 'Equalizer' in this movie were he's talking to us in pitch perfect narration about being caught behind bars and between the four walls prison of the streets where crime engulf him like crack did impoverished communities, colorblind. Seeing nor black or white, but just vulnerable individuals for it to get its hooks into. A disease as cruel and indiscriminate as COVID.

Quarantined in a socially isolated lockdown that is making us prisoner to our own thoughts going round and round like an empty cup rattling against the bars. We can on some level relate to the claustrophobic nature of this movie given to us from Netflix at a time there they are really bringing it as we're staying home. From Michelle Obama documentaries ('Becoming'), to New York's finest Jerry Seinfeld comedy specials ('23 Hours To Kill') and of course ESPN's 30 For 30 week-by-week 'Last Dance' between Michael Jordan and the Chicago Bulls. And we haven't even got to the movies yet. But boy are they good for a service that doesn't just stream shows, but enters The Academy finally like 'The Irishman', 'The Two Popes' or a 'Marriage Story'. And day and night like Kid Cudi, 'All Day and a Night' directed by Joe Robert Cole (the Emmy nominated, Writers Guild Of America winning screenwriter of 'American Crime Story: The People vs OJ Simpson' and, 'Black Panther') is as cinematic as they come even on your laptop or smartphone that's as plugged into your living room as you are. Now if Sanders searing eyes reveal a fire inside to his otherwise calm and chill demeanour, the restrained passion of 'Boardwalk Empire' star, Bond's Felix and 'The Batman's' forthcoming new Commissioner Gordon Jeffrey Wright is legendary. Like his 'Extremely Loud and Incredibly Close' Tom Hanks movie scene steal at the desk in his office after hours with a coffee cup that may just be laced chased with something else as you can see the emotion in his eyes as he's trying to hold it all together, but let's it all fall apart in solace, relating with the child star of the picture. Or the sobering scene in 'Westworld' we will never spoil. Jeffrey is just that right here playing pops to Sanders son in a movie that brings out the big guns like 'Aquaman's' Black Manta, 'Watchmen', 'Us' and forthcoming 'The Matrix 4' star Yahya Abdul-Matten II. Oozing the form of his life with an uzi as a stylish gangster with guns and roses on his shirt who shows you the life that should not attract you by the collar as you try to keep it as straight laced as one foot in front of the other. From the projects to the penitentiary, this slow burning, but utterly compelling father and son drama that involves the whole community is probably one of the more real and raw things and films Netflix have showcased since Idris Elba's award worthy 'Beasts Of No Nation' that could even drain Leonardo DiCaprio's 'Blood Diamond'. One fast and furious street racing scene will really run you off the road as it does donuts around you. There's lessons to be learnt from this as life runs rings around you ragged. But from the air of the prison yard, to being caught in the wind of the streets, this circle of family life rooted in poetic injustice is delivered by two powerful performances from two powerhouse performers (one of simmering rage, the other of subtle nuance), planting seeds like grace notes. All in a day and night's work. TIM DAVID HARVEY. 

Further Filming: 'Starred Up', 'Moonlight', 'The Equalizer 2'.

DOCUMENTARY REVIEW: MICHELLE OBAMA-BECOMING

4/5

Yes She Can. 

Change. 10 years ago if I told you we'd need it again a decade later you'd think I'd gone backwards not forwards...but we really have. I remember former presenter of The Daily Show before Trevor Noah, Jon Stewart back in 2008 after the Obama inauguration, comparing the final months of the Bush administration to seeing a new bike wrapped up under the tree for Christmas. "I know it's a new bike. I can see what it is. Why can't I have it now?" Now like a New Yorker driving past a previously M.I.A. Bruce Springsteen in N.Y.C. after 9/11, shouting, "We need you" and inspiring The Boss to get back on E Street and write 'The Rising' for all those who fell the day the towers did, we need the Obama's back more than ever like that same beautiful bike. Its bell ringing the memory of nostalgia. Especially when there is a man in the White House so bad he makes Bush look good. One man who claims he wants to make America great again but doesn't realize those MAGA hats act like white hoods. A man who didn't believe in Coronavirus like he doesn't climate change. And now the amount of dead in New York alone is at epidemic levels not seen since September 11th, 2001. And as for the rest of the country let alone the world, it's an all out war against the most terrifying enemy...an invisible one. And what's scary as that those in power are too busy trying to play the blame game than affect real change for the good of the world. We need hope back. We need Barack and Michelle. We need a President again and someone who shows that the First Lady is more than a title, but the responsibility to the nation and every boy and girl raised by it. When they go low...you know where we go.

Donald Trump as usual went to the only podium he really thinks he can make a speech from...Twitter. Mocking Michelle and her autobiography like the (I can't say it, I have a mother) grabber, class act that he (thinks he) is. Little did he know that Michelle Obama's book would be even more of a major success than her husbands amazing autobiographies, 'Dreams From My Father' and 'The Audacity Of Hope'. Becoming (no pun intended...I actually wrote this out with no intention, but like I'm going to backtrack and backspace it now), even more of a cultural influence on young women in independent inspiration than Canadian Margaret Atwood's long awaited, decades in the making like a Harper Lee 'Mockingbird', 'Watchmen' sequel to 'The Handmaid's Tale', 'The Testaments' a year later in testimony. So much so Trump went and took his book home. Now Netflix following their own beautiful 'Barry' biopic (we may not need the ears of Will Smith, but if 'Da 5 Bloods' of 'BlackKklansman' director Spike Lee is still doing it like the right thing we are game like 'He Got') and showcasing the more famous 'Southside With You' ice cream kiss, love story (which came out the same year as 'Barry' (there's a moment in this movie were a young Barack walks out on his high school sweetheart at a wedding (albeit in the nicest way like the nicest man in the world possibly could. He didn't leave anyone at the altar) and treads the golf grass lawn outside (literally and figuratively in a bunker) that sounds the same as the cigarette he lights that sparks off nostalgia throughout the whole film. Pacing around in anxiety. Not knowing he's about to meet the love of his wife) like a 'White House Down' and 'Olympus Has Fallen') and the end of the eight wonder of 4 by 4 wonderful years in 'The Final Year' documentary put their name on another one. All at the same time they are holding us down during lockdown, really stepping it up for us alone in social isolation. From giving us '23 Hours To Kill' out of nowhere with legendary, Mount Rushmore comedian Jerry Seinfeld in James Bond mode, who doesn't have a licence to swear and never curbs your enthusiasm and the 10 part story from the golden era of the 90's when the Chicago Bulls were King and Michael Jordan was (is) the G.O.A.T. for ESPN's brought forward and brought to everybody, 30 For 30, 'The Last Dance'.

'Becoming' like the same name of her amazing autobiography that has propped up my shoulders in the weight of the world worst year of my life, aswell as my and everyone else bookshelf. Being like Dan Brown's 'The Da Vinci Code', or F. Scott Fitzgerald's 'The Great Gatsby'...every household has one. Netflix's new documentary signed off by Michelle's book tour has inspired another, 'I Be Becoming' social media Twitter trend for other people to share their own stories. Which this book, documentary and her families presidency was all about...I'm sorry, will be about. Forgive me...will always be about. "I'm from the Southside of Chicago. That's about all you need to know," says the world's most powerful woman (the one who tells you, you are) married to a "former Chicago resident". Who only really appears in this documentary majorly once, demanding a rewrite. But how about his reaction from staff when he walks through the auditorium before the arena all standing ovation he actually receives when he takes to the stage with flowers for the woman he's loved ever since he showed up late for their first date. Now you know who wouldn't get that kind of reception...right? Oprah. Gayle King. Conan. Stephen Colbert. They're all on hand to interview Michelle. City to city. State to state. Visit to London. Serving as present or as this wonderful writer delivers her own jokes with the same authority that will see her do what Hilary didn't and Biden might not. Yeah we said it. This may not be about the next Obama becoming President, but if it was it'd be one top ballot box billing, campaign trail. "With all the highs and lows and what seems so ordinary and what seems like nothing to you is your POWER (clapping her hands with emphasis on that last word)", she tells one girl like she's telling the whole world. Albeit whilst not making the girl a statistic...instead speaking to her individual spirit. One that shines within all of us, even in our darkest times. As this documentary, like her book a mere half term ago shows you that even though times are troubled the good ones were just a mere moment ago. There's a moment in this movie were Michelle Obama talks about the changes they made when they moved into their Washington residence. Were she made sure that the White House workers didn't dress up like butlers and maids of backwards times, but instead looked like the individuals they were and an indelible image to their young, impressionable daughters that was no longer rooted in inequality, but in inspiration. Just one major example treated as minor by the press in how its forgotten (like sneaking outside to join in the amazing grace of people coming together, not long after bullets were fired at this very house), whilst the man in charge does so much bad every day with all he says that you forget the last ten bad things he's done because you can't keep up with the last 20. But even all the hurt of a weary world can find its soul again when it's shown heart. The first black President changed the world. The first female one will heal it. And when that day comes maybe we will all end up becoming the same thing. Hope. TIM DAVID HARVEY. 

Further Filming: 'The Final Year', 'Barry', 'Southside With You'. 

STAND-UP REVIEW: JERRY SEINFELD-23 HOURS TO KILL

4/5

License To Laugh. 

Seinfeld. Jerry Seinfeld. Beacon Theatre, Broadway, New York City. Sometime in 2009. Me and my brother Ste are out in the bright lights of the big city for my first holiday in four years and it's been a long time. From the neon entertainment core of the earth in the never sleeping lights of Times Square, to the almost 50 (worth it for those sliders) block walk to my favourite classic Americana diner (Metro) on the showstopping stage of the city's performing arts of Broadway. You just knew back then we were going to live it up. No tomorrow live it up. For being lucky enough to score tickets to a live taping of a Late Night With David Letterman broadcast featuring special guest as New York as '30 Rock', Tracy Morgan making some flashlight helmet, tongue in cheek jokes about being stuck in the same predicament as the Chilean miner guest prior (an inspiration) and watching Jimmy Fallon dress rehearsal some jokes Rockerfella across town. To seeing the New York Knicks lose in the Mecca of Madison Square Garden again as per and even catching a glimpse through glass of none other than Iron Man himself, Robert Downey Jr. and Zach Galifinakis riding high off 'The Hangover' Alan supply, holding that masturbating dog off 'Due Date' on a small, classic cinema scale premiere of said movie, before we made our own trip to the Canyon. Now if you thought that wasn't enough, on Broadway we manged to score tickets for a variety show...if by say score you mean pay three times as much in the 500 dollar region on (f###) StubHub for tickets to an event that raised money for injured American troops coming home from war. Whoever scalping profits off that truly needs to reevaluate how essential that is to them and although we didn't mind paying in respect, in retrospect we (or more I suggesting it) were complicit in this by buying into it all. But then again the way we saw it we were making our donation and the rest of the hundreds of dollars and who it went to could go f### themselves. Besides this was a once in a lifetime situation as we suited and booted in imposter syndrome weren't s### compared to the men of honor surrounding us. Barack Obama welcomed us to a night we'd never forget via live video (don't you just miss Presidents?). Tony Bennett...Tony Bennett people, days before we were about to leave our hearts and some socks in San Francisco. My hero, The Boss, Bruce Springsteen auctioning off his acoustic guitar to the millions in the audience for this charity event (I had to at least start the bidding at 5 dollars...hey it's all I had left StubHub). This whole night was compared by the Howard Cosell to Springsteen's Ali, Jon Stewart at the height of his pre-Noah 'Daily Show' days and years before I'd come back and wait outside all day to get a ticket for the taping of his swan song run, all whilst missing a free Springsteen concert in my Times Square walk hotel home of all places. The second funniest man on stage that night. Because who else was there? None other but Jerry Seinfeld.

'Comedians In Cars Getting Coffee' seems like the perfect show for an Englishman like me who loves tea, hates coffee and doesn't even know how to drive at almost 35 (I know, I know). But the 15 to 20 minute cup of a Netflix show has served me well each morning this year whilst being lost in translation away from the family, thousands of miles gone, living in Tokyo, Japan. From Jamie Foxx to Dave Chappelle. Kristen Wiig to Kate McKinnon. Jon Stewart to Trevor Noah. And Zach Galifianakis (segueing perfectly into his own 'Between Two Ferns' viral internet come Netflix movie sensation. "Counting crows feet"...genius), to the 'Don't F### This Up' of Kevin Hart (whose brilliant, witty and insightful book, 'I Can't Make This Up' is doing the same thing for me right now as 'Cars' and 'Coffee' in Yokohama). And of course Obama for some Presidential coffee in the Oval Office. The perfect one shot way to start each day in this binge culture, getting ready for work. So much so that when the last drive and sip came just a few weeks ago to my surprise it was also to the sad feeling of saying so long for now to an old friend (and I know what that's like right now, trust me)...but what a ride it was. Thanks for keeping me company and in good humour...I know your enthusiasm curbed reaction to this will be somewhere along the lines of Larry. So imagine (I know you don't care and that's OK...I do too...wait! Damn!) my delight when a new Jerry Seinfeld special '23 Hours To Kill' (that's hilarious it's just like James Bond. 'I Love You Man') came out of nowhere to my surprise. I guess I missed the hilarious laser sharp, "I expect you to laugh", 'Goldfinger' 007 riffing commercial complete with a supervillain eye patch for the man who starts his latest special jumping from a helicopter into the Hudson and sticking the landing almost like a Sully miracle. A day before the First Lady and one day your next President of the (will be) United (again) States, Michelle Obama's amazing autobiography tie-in documentary 'I Am Becoming' hit the streaming service again seemingly out of nowhere at least to this socially idiot abroad in Japan. Netflix are really stepping it up right now in this lockdown. Next you'll tell me there's a show about lions, tigers and Baskin's oh my.

Quarantined we need stand-up comedy right now more than ever. It's truly an art form and one that can genuinely elevate us during our lowest points being a comedy to the tragedy face of our troubled times. There's an anxiety that now months later seems terribly fitting to the way Jerry opens this show and this is all pre COVID 19 before he pumped the breaks on his 2020 stand-up run. Coming just days after he cameo appears on the fellow 90's big hit and quit of the Michael Jordan and Chicago Bulls ESPN documentary 'The Last Dance' that is the new king tiger on Netflix right now that people that don't even like the game are tipping it off. The 'Seinfeld' sitcom hilarious actor in an equally as hilarious as such moment of the season, let alone episode, pointing to a play on the chalk board and telling a coach, "that isn't going to work" like only he'd know. Bringing those Broadway memories back like he has those retro style Bond posters in perfect promotion. His microphone the gun as he takes aim at everything from how much we need our phone to...erm...ahh damn sorry. That was my bad I was sending a tweet. But Seinfeld's latest special is more than a show about nothing like his Wale rap mixtape and album homage collaboration (which really was everything). Put this next to his 2017 'Jerry Before Seinfeld' recent addition and the 'I'm Telling You For The Last Time' classic that you really have to hear again. All as iconic as that maybe not so timeless big hair look of long sleeve shirts, no pockets, Springsteen jeans and Nike sneakers. We could listen to this man talk for 24 hours as he kills it. Shooting down everything from the postal service ("just email us") to Pop Tarts comparing their invention to Moses tablets which brings back great Ricky Gervais pizza boxes in 'The Invention Of Lying'. Killing it like Kevin Hart asks in his book why are there so many "bombing" and "annihilating" metaphors in good comedy. Jerry brings that old thing back like that Seinfeld canned bass lick or those classic, "it's so true" jokes like the time he wondered what cows do when it rains as it ruins jackets ("are you wearing suede?" "We are suede!"). And back to Hart like "Don't F### This Up' on Netflix for the 'Irresponsible' star, there's a moment in that series in a classic New York comedy bar where he holds fort with the likes of Chris Rock and Dave Chappelle (another thing I love about Jerry is he is still as hilarious as these two and the Pryor's he belongs on Rushmore with...but I still don't have to make my mum leave the room like she had to me back in the day when watching stand up). Which off Broadway right now helps us realize just how much we miss comics and that N.Y.C. scene. Even a 60 year old like Jerry Seinfeld's old trick that tells us that he can just dismiss people's social requests with a half assed waving hand gesture these days. I was like that at 30 Jerry. But I've got a hand gesture for anyone ready to write off a real G.O.A.T. like M.J. as I wait for the next coffee run. With nothing else to do right now, there's nothing better. There's no excuse to miss this killing over the next 23. TIM DAVID HARVEY. 

Further Filming: 'Comedians In Cars Getting Coffee', 'Jerry Before Seinfeld', 'Jerry Seinfeld: I'm Telling You For The Last Time'. 

#SceneStealing TERMINATOR: DARK FATE (2019)

RE: Judgement Day.

By TIM DAVID HARVEY 

(For the latest scene of #FilmsForFridays' new feature, #SceneStealing-were we breakdown the best scenes in films in more detail-we go on a familiar road to the 'Dark Fate' of the latest Terminator sequel. WARNING: Specific scene spoilers follow.) 

"GET DOWN!"

Shotguns and roses come out as thorns and buckshot fall and Arnold Schwarzenegger's iconic 'Terminator' from the fist classic sci-fi horrors delivers the ultimate twist before the spoiler alert age of movies these days,  were we have more reveals than social media accounts ruining them before we even get a chance to see the trailers on our phones. Let alone the actual movie on the big screen (if we're ever able to do that again...hence this new feature). This time he's the good guy, as the cop set up to be good is actually as bad and as crooked as those cake tin like bullet holes that are about to pierce his body in amazing for the time CGI. This is the golden era of the 90's and one of the best blockbusters ever in the G.O.A.T. ranks like a last dance is about to play and get it stepping. We've had one hell of a biker leather set-up to the bone, as both these machines playing as men started this movie as naked as we all are at home right now in quarantine. You thought Arnie who really is back was about to be bad to the bone again with Robert Patrick's T-1000 playing the Kyle Reese freedom fighter. How wrong we were like the turn made by that "hey you can't be back here" guy with hot coffee about to be burnt. Edward Furlong's Jon Connor in that iconic Public Enemy can't believe the hype and doesn't know whose number one as the two powers fight. He makes for a moped that squeals like he does and we are off to the races as a lorry commandeered by a cop charges after him with all eighteen wheels. All before Arnie gets to a chopper and chases the predator through the Los Angeles storm drains and thunders a shotgun at him, spin cycle reloading the chopper on the back of his steel horse as he rides. And last year as 'Dark Fate' would have it last falls latest 'Terminator' sequel bringing everyone back like Schwarzenegger, played perfect homage to this iconic moment and highway segueing scene switching it up again. All for an epic, entertaining stellar scene in a film as such from 'Deadpool' director Tim Miller. Don't believe the lack of hype from critics. Aren't you tired of people telling you a film is garbage, before you even have chance to sit your can down and enjoy it? Well we're all thinking twice about spoiling what we had now aren't we? This writer seeing this lost in Tokyo as he took a train through some liquid metal subway station creative, commercial advertising, in the Shinjuku cinema made famous for having Godzilla roaring above it with the molten display of a real Terminator prototype prop from the premiere out front knew this beast was a thumbs up. 

As 'Fate' would gave it, slow motion walking towards a man in a hard hat and orange vest at her factory scene setting work, the great Natalia Reyes' Dani has a look of confusion on her face that reads, "what the hell is my father doing here?!" But before she has chance to process he might just be here to bring her lunch, that all changes as a service weapon materialises in his brown bag hand and he begins to raise it and draw aim on her. Then before she has chance to process THAT family revelation, his head blows apart in a sticky mess of Venom symbiotic like oil. I guess its a good job he wore that hard hat hey?! Pellets continue to pepper him in the same slo mo as she screams. Completely forgetting he just tried to do the same to her (it is her own flesh and blood after all). "Noooo!" she cries as he keeps getting pounded and slow motion becomes rapid fire as we see a security guard ('The Martian' and 'Blade Runner 2049' star Mackenzie Davis) in cap and short sleeve blue unload a blunderbuss on him (the coolest weapon in this action franchise) reloading with machine gunner precision. Before starring him down with the shotgun and blowing him away for what seems like good. "PAPI!" Dani SCREAMS still not believing what has just happened, her brother (a brilliant Diego Boneta) beside her in the same bewildered disbelief. "That is not your father" the security guard says like a reverse Vader, as she holds Dani back from getting closer like cops do in the movies when someone sees their loved one turn into a chalk outline right before their eyes. Dani struggles, the guard grabs just below the neck and pulls her close, her eyes serious with "come with me if you want to live" intent. "Hey! You come with me or you're dead in the next thirty seconds." "That was a machine sent here to kill you," as what looks like oil comes together like water and this all begins to make sense and materialize.

"Who are you," Dani asks the woman now in complete control, running away and taking both the kids that have just become orphans under each arm with loving protection. "I'm the person saving your life" she confirms. Meanwhile what was once their father but now looks more like the 'Ghost Rider' of 'Agents Of S.H.I.E.L.D' star Gabriel Luna looks like he's flying the way he's scaling scaffolding after them with terminating intent. He breaks up their little family moment as bodies splay everywhere and their security reaches for a nearby tool and her sidearm. She runs across his killer path, letting off a few shots before executing a Jordan or Maisie Williams, Frost King killing 'Game Of Thrones' like spin move under this Terminator's baseline and drives. He swings at her with what looks like a knife. She loses her hat. Drops the spent gun. Puts both hands on the other hammer like a Wolverine sword and swings like she's trying to get out a bunker. BANG! He's out of there! She treats this heavy hammer like a baseball bat. Strike one. Strike two. Strike three. It turns a concrete column into dry-wall. The kids make a break for it. The Terminator would be after them fast if it wasn't for their security changing the guard. She flips the hammer up to get a better grip like someone holding stage with a microphone and then she really sings. Running him down with that same never glazed over focus now in "all you need is kill" mode. Then she goes all Kathy Bates in Stephen King's 'Misery' with the sledgehammer on our new James Caan about to be Godfather-ed. Grabbing his sword modified arm like it's a letter opener. Using its momentum to hit him. Disable it. Hit him again. Stomp parry his other sword modified, materialising arm into the ground, keeping it there. Disabling that. Before she does the same to his trailing leg. Crippling it from the knee down for your, "ooooh" moment, as she spins, swings and knocks him out the park. The kids look on like this is a baseball game and all they need is a hotdog and soda instead of making that home run like they should. It's hammer time now as she chases after him and begins pounding his head like those drinks you had last night. One. Two. But then no three?! That same Venom like blood materialises around the club of the hammer and the next time she lifts it up to her shock the Terminator comes up with it and then with that same letter opener clips it at the root before saying my turn with a barrage of an attack. It all sounds like thunder and lightning in this very, very frightening scene as sheet metal starts banging like Gallileo. "Stay behind me," the guard orders the brother and sister as she tries to keep control. The Terminator cuts a piece of metal in two like a paper trimmer and that's when our guard regains control and uses the former one piece as two weapons in her arsenal. Hitting the Terminator in what looks like a stainless steel pillow fight that would turn you into ashes and dust, not feathers. She slams him down on an seemly line, screaming like she's about to dissassemble him and then the brother screams "hey lady" as he pushes that big red button you're not supposed to-but always have wanted to-as the woman ducks and an engine crushes him into oblivion.

"Grace!" She says our of breath (and you have no idea what that name means to me). "My name is Grace."

"That won't kill it...come on!" "What?" That won't kill him. This unbelievable action spills onto the streets in dual scene, landscape changing moment on the car chase of this 'Judgement Day' homage, as a station wagon is trailed by a truck...and you know who's behind the big wheel. "Drive! Can you drive!?" Grace asks Dani as she's already getting out the drivers seat. "I can!" The brother sidles over as Grace let's him take the wheel and heads out the window. Taking her shirt off and revealing the bulging biceps in her 'Die Hard' beater vest. This amazing Grace is a machine as she gets into the back of a wagon and picks up pipes like they were Kerplunk sticks. And starts playing darts with the truck for all the marbles to come down. Strike one. Just missed. Strike two. Right between the eyes. But the Terminator uses it to his advantage as he materialises around it and let's his venom crawl all over it right onto the hood of the truck were he appears again...but wait! He's still in the drivers seat...in more ways than one. This machine's made a copy like Xerox. Now there's two of him. Two Terminator's on their tail. Before Grace can register this strike three hits the heart of the engine and the Terminator bails and grabs for the back of their ride with knives out like you know who...and this time I ain't talking about Rian Johnson. Getting took to the toolshed, before slashing the tyres like an angry ex as the wagon flips all over the place. Sparks fly followed by everyone else. Before this road rage to pile up all become stationary and Grace looks out the game...but still iconic. Meanwhile the Terminator has just been run over, but the pink polo coming out to ask him if he's OK didn't see that this guy just had an engine dropped on him and tis but a scratch. His symbiote is already working his way through the engine, stealing this concerned citizen who is about to be run over before the Terminator tyre tries to run down his target's car. Just like Dani's brother Diego is trying to convince her he's OK with one of those poles coursing through his stomach. She screams for Grace who comes to and comes to help until she realizes she can't move him. "He'll bleed out!" There's a car coming towards them, at at hurtling, hurting speed. "Dani, we have to go!" "I'm not leaving him!" "Take her. Save her," the hero of a brothers keeper says in one of the most emotional moment of this epic. "I'm sorry" Grace says with genuine concern and regret as she takes a refusing Dani like a new born and crouches and shields her as the Terminator turns his truck and pink polo's pride and joy into petrol and a memory. "Why did you do that," Dani screams and scolds with the same disbelief that took her father. "We have to go," Grace pleads this time. "Or he died for nothing," she counters as Dani cries for Diego. Trying to reason with both hands on her shoulders that already now carry the weight of two worlds. All as the Terminator in liquid metal that looks like the cars oil (you can see why they chose this look now) comes back together in an iconic stream homage that may not hit the way the before their time, game changing graphics of 'T2' did in 91...but like the kids say, still slaps as Gabriel plays it like coming out of a rebirth. And these guys are about to hit too as a pole slams into the concrete road at Grace and Dani's feet as battle lines are drawn. First from the Terminator copy, minus a visible cranium and then the main event itself walking through a highway guardrail like its water to his oil. Grace snatches and picks up the pole, steeling herself for battle, shielding Dani again. "When they start to kill me...run." Now has a harder sentence been uttered? "What?!" I said, now has a harder sentence been uttered? 

BOOM! A Range Rover steps on her moment and turns the second endoskeleton like Terminator into roadkill. Now it's the original part that looks in disbelief, as those iconic workman boots that told you they'd return step out in slow motion and the camera pans up past combat fatigues, a military grade bulletproof vest and aviators to that stern, killer face holding this machine gun. Linda Hamilton's Sarah Connor who then just unloads on Luna's machine, bolting for the girls like Usain. She picks up the pace and the trigger as he comes apart like me asking out a girl and before he has chance to reach out and touch them he goes off the bridge like skipping stones. Dropping the machine gun like a bad habit and swinging a rocket launcher from around her back like a guitarist about to deliver one hell of a solo, Connor sees the skeleton come back to life, doing that possessed raised resurrection these Terminators do, adjusts the rocket like it was a telescope and lift off shoots for the stars. Sending the skeletal frame back into the cars before he can Usain the same. Night, night. Dismissing the bazooka like Heath Ledger's Joker in, 'The Dark Knight', like it was garbage in the cinema and then causally walking over to the bridge edge without acknowledging Grace still holding the pole and Dani still behind her. Reaching in her utility belt bag of tricks like she was reaching for a can of Coke she ring pulls a grenade and tosses it over the side like it was pennies in a wishing well, before taking out a sawn off shotgun and walking away from the blast as casually as cool girls don't look at explosions too after turning to Dani to Grace and almost meta, self-aware ironically simply saying...

..."I'll be back!"

And there's that chest thumping score. 

#SceneStealing EXTRACTION (2020)

12 Mins Strong. 

By TIM DAVID HARVEY 

(For the latest scene of #FilmsForFridays' new feature, #SceneStealing-were we breakdown the best scenes in films in more detail-we go toe-to-toe and all sorts of arms with the mighty God of Thunder, Thor's Chris Hemsworth. For his epic, 12 minute one shot of avenging action in the Russo Brothers produced, biggest hit and latest Netflix 'Extraction'. WARNING: Specific scene spoilers follow.) 

"For f###s sake!"

Me and my friend back home have a running joke about how quotable 'Avengers' and 'Men In Black' international star, Australia's own Chris Hemsworth is. Not actually for what he says...but how he says it. From asking if someone's phone in Michael Mann's 'Blackhat' is an android (O.K. that's a little inside joke about how s### my mobile phones was until he handed me down his old model), to every other thing he says in Ron Howard's 'Rush' as James Hunt ("it rhymes with...#insert car horn#"). And when it comes to the 'Love and Thunder' of the Mighty Thor's latest big picture on the small screens of Netflix, co-signed by the producing Russo Brothers (like the 'Black Panther' Chadwick Boseman with the New York City cops of '21 Bridges'), in 'Extraction' you definitly have your share for your meme and GIF sharing trend. "Piss off you little s###!" Who would have thought that in the middle of the day here in Japan, isolated socially I would send a video of the latest one to the same friend back home who had literally just finished watching it as he got the message, before bravely going back to work as an essential member of the workforce? "For f###s sake," Chris says hilariously as his human sat nav corrects him and he ends up in a dead end like Steve Carell in 'The Office' bearing right, right into a lake. "No, no, no left...left! You just passed it!" Now you may sit here and ask yourself, "is this guy really writing another article about 'Extraction' based on the way Hemsworth say's, "for f###'s sake""? Simply put, the answer is yes. I don't know what to tell you. And why the f### not? Not only is 'Extraction' the biggest, albeit seemingly only movie out right now. It's so big, it's one of streaming service's biggest opening movies ever. Which is crazy even in these times when all people are doing is Netflix with no chill. So much so the Russo's and Co are already planning a sequel (which erm...seems strange), looking at 'Triple Frontier' and 'Operation Finale' star Oscar Isaac as the villain (and I am all in on that annihilation). But for f### sake it's not just for that sole reason. From McConaughey's "alright, alright, let's get out the hood" scene from 'True Detective', to every season in 'Daredevil' upping the ante to a prison break (and who could forget the whole of Sam Mendes' '1917' movie...apparently the Academy), 'Extraction' has one of the most epic one-shots in the cinematic canon. Stealing the movie-let alone a 10 minute plus scene-this feature was made for moments like this in a continuous take.

Blowing smoke in his face, Hemsworth has already almost broken someone's hand with a gun in his face, as his hero for hire's job is to extract a drug lords son (a breakout Rudhraksh Jaiswal) and get him the hell out of dodge and to the safe Harbour of a 'Stranger Thing's' Hopper house. And this is were director and former Marvel stuntman Sam Hargrave gets to have fun like Keanu Reeves former 'Matrix' stunt double dodging bullets in 'John Wick'. And if you thought that was impressive just wait until you behind the scenes see how close Hargrave gets to the action, literally riding shotgun. They have a chance to get to the chopper out this forest for the new Arnold Schwarzenegger, but then the 'Predator' of a scene stealing Randeep Hooda comes out of his camouflage. "Listen! When I tell you to, you better run like hell. Or I'll kill you both. You understand", Hemsworth's Tyler Rake (if there ever was an 80's era action hero name) politely puts it to the kid. Not really asking a question as he launches a flash grenade like 'Call Of Duty' before they make their way to the kind of car you see pooled outside of your kids school. "GO...MOVE MATE!" Suppressed machine gun fire is exchanged and we're off to the races, as the camera follows the back of the car all the way to...a squad of police cars. I guess they're in on it too. Mirror, signal, handbreak turn the f### out of there. The young bounty of the boy Ovi reaches for the door handle. "Please let me go!" He angrily pleads, forgetting the "lord" that came after drug in his father's name. Hemsworth gets his 'Rush' on, pedal to metal. "The cops are in on it...look of you want to live you have to trust me." Something is f##### here as he puts it, before crashing through a gate as this scene really opens up this set pieces landscape. The kid buckles his seat belt for this bit of ride or die, fast and furious speedway. I guess he does trust him.

"For f###s sake!"

Smoke and bandits, with love to Burt Russell, an academy of police cars take each other out in a stunning pan around and the camera man STILL hasn't broke for lunch. Not even when Hemsworth makes the wrong turn like a horror and has time to mirror, signal and get the f### out of there again as he utters his now infamous line. Still what a way to combat comeback as he reverses, spins the wheel like the soldier of fortune he is, puts the kids head down and with his other hand off the steering blasts two dome shots into the "cops" on his tail...'Collateral' damage style, like the creed of Tom Cruise's cab cruising assassin. "DOWN!" These shots are so sniper precise they silence the siren. They're back on the road...if the road is full of stalls and shop workers that is. "I'm in survival mode" he declares, boxed in like we all are now, locked down with this movie. "I have my seatbelt on. You drive like you're insane," the kid confirms to Chris' next demand, before he "hold tight," totals his car and wipes out his windshield as we're really off to the races now. S.W.A.T. members ascend the stairs with the same cameraman like they were looking for Captain America and The Winter Soldier in 'Civil War' after Hooda falls out the front of his hood crumpled car. We have a few moments to catch our breath. I said a few right? Then we hear a pigeon clapping like Denzel Washington's Alonzo in 'Training Day' is coming and then King Kong ain't got s### on what comes next. Hemsworth disarms the soldier we pan across with...with a knife and then Crocodile Dundee's the hell out of his neck. That's not a death. It's the death that comes next as Chris finger to lips hushes a speechless Ovi before silencing everyone else. Getting his hand-to-hand, gun-fu on as the kid gets away, loses his vest and then finds Hemsworth's Rake again (it's worth at this point taking a break at this point and reminding you this is the same "Rake" who Sideshow Bob style took someone out with the same gardening implement a few scenes back...and made sure he was dead). Now getting up close and personal with rifles, shotguns and pistols oh my, this animal treats these arms like karate chops, before reloading his gun on his own bulletproof vest and showing someone they should have invested in one to protect their head and neck. They (plus the camera man. Have you never watched an extreme Bear Grylls show and thought, "this is impressive...but what about the guy doing all this AND lugging around all that camera equipment") make it to the rooftops. "Do you trust me?" Rake asks Ovi...again it's not really a question. "No!" the young man replies like Kevin Hart everytime The Rock suggests something "cool" in 'Central Intelligence'. Hemsworth throws him off the roof...a little of an extreme response if you ask me. "Good!"

Jumping to join him on the next rooftop like I do conclusions. Hemsworth descends the stairs to look for an exit. Even if it's right through someone's house. "Stay on my shoulder alright", he says as they end up on the shooting gallery of a balcony...and then Hooda out of nowhere comes back into play. I know he didn't have a car anymore but DAMN...did he go for lunch instead of the cameraman? Did he at least pick him up a sandwich? Because we are still on the same shot people, even if more actual gunshots have been exchange than the O.K. Corral. They tussle..."tussle" really isn't a strong enough word for this. If you "tussle" someone's hair, then this is like taking someone's head clean off. They fall of a roof barely, grazing the life support of the awning like a classic Jackie ("always OK") Chan stunt and then fall to the smooth landing of concrete. And then this is where it gets hard. The knives are out like Rian Johnson. You may have seen the meme where they super impose Keanu Reeves almost disrespectfully over the real scene stealing Hooda with the line, "Who wins? Tyler Rake or John Wick?" And at this  point I'd like to remind everyone that they killed his f###### dog. Rake Charlie horse kicks Hooda into oblivion, before more people get run over than Brad Pitt does in that social shared 'Meet Joe Black' sort of spoiler (if you look back it means something...you didn't have your eyes on the road). Hood than executes (not exactly) the coolest, "I am f##### up, but I'm alright," get up before "saving" Obi from some soldiers and then meeting his own Joe Black courtesy of Chris. Hemsworth says a combination of "come on" and "hold on" for like the 19th times before the 20th person I've shown this one scene too asks, "is it still the same camera angle" ten minutes later. They speed off in the truck, hold the door open, bail like it was Grand Theft Auto under the cover of the darkness of a tunnel and then in a cloud of black smoke a gas station worth of petrol bombs everything away. Almost chopping a helicopter down for the last aerial shot above it all...and THEN the camera changes. THAT was the last shot. One shot? This should have been one paragraph. Finally! And this is still not the best moment of the movie ("run"). Extract that!