REVIEW: ALL QUIET ON THE WESTERN FRONT

4/5

Im Westen Nichts Neues.

147 Mins. Starring: Felix Kammerer, Albrecht Schuch, Sebastian Hülk, Aaron Hilmer, Edin Hasanovic, Devid Striesow. & Daniel Brühl. Director: Edward Berger. 

1929. German World War I veteran Erich Maria Remarque's remarkable novel 'All Quiet On The Western Front' journals the true horrors and physical and emotional casualties of war by the book. 1930. It's already adapted into an Academy Award nominated movie of the same name a year later, directed by Lewis Milestone. A milestone in itself, being century named to the generational '100 Years...100 Movies' list by the American Film Institute. 1979. It was same name adapted again by another American, Delbert Mann. This time for TV. 2022. And 'All Quiet On The Western Front' is adapted once more unto the breach for streaming service Netflix, but this time with authenticity by a German (the good and great 'Deutschland 83' and 'Patrick Melrose' director Edward Berger). As this 2023 Best Picture nominee looks to do for young acting talent Felix Kammerer what Sam Mendes' '1917' did for 'Defiance' and 'Captain Fantastic' actor George MacKay a few January's ago. 

Last time out, reviewing 'You People' we remarked on how Netflix struggles on the small-screen with their big-budget, blockbuster mainstream movies compared to a series of successfully streamed shows. Names like 'The Gray Man' and 'The Man From Toronto' come to previously forgotten, "oh yeah" mind. There's nothing wrong with these pictures, but if cinema seats are really closing up, the table needs to be flipped on our primary source of popcorn. Before the service that will soon fine you for sharing with friends and family will be replaced like they did Blockbuster with their humble, home box-office by mail beginnings. The same can't be claimed for Netflix's prestige pictures that take aim at The Academy each year. It all started with the outcry after the Oscar ignorance towards 'Beasts Of No Nation' starring 'Luther' movie to be (seeing if he can break bad and make good on a TV to movie Netflix crossover) Elba, Idris Elba. 'Roma'. 'Mank'. 'The Irishman'. 'Marriage Story.' Even this year 'White Noise' and 'The Pale Blue Eye' were on the fringe like a 'Glass Onion', 'Knives Out Mystery'. 

Now it's 2020s 'All Quiet On The Western Front' sleeper hit that has everyone scrambling for each other's Netflix accounts (*holds hand*) to catch-up with a film that is a dark horse like a Katy Perry and Juicy J, Jeffrey Dahmer lyric in the 'Best Picture' Oscar race. Next to 'Avatar: The Way Of Water' ('Black Panther: Wakanda Forever' did it better with Namor), 'The Banshees Of Inisherin' (yes, please), 'Elvis' (yeah, baby), 'Everything, Everywhere, All At Once' (everybody's favourite), 'The Fablemans' (the 'E.T.' prequel no one saw coming), 'Tar' (Cate conducts herself with no peer), 'Top Gun: Maverick' (with a need for an Oscar seed), and the 'Triangle Of Sadness' and 'Women Talking' that you sorely need to see and hear (OK, we haven't yet. But over here, Japan doesn't even get 'Everything' until a few weeks after the ceremony). 

'Devotion' to telling war stories before they change history in class, so hopefully we can change our legacy (especially after last year), last week we also talked about this Netflix property about the Korean War, starring the great Jonathan Majors and 'Maverick' Glen Powell. Making a victory of its PG-13 rating, because sometimes we don't have to display war in the guts of all its blood and bullets, but maybe with something you can show at schools too. Still, with that being said, Berger's brutal but beautifully shot two and a half-hour epic is a necessary evil of violence. Keeping the integrity of Remarque's memoir and the forefather films. Looking to be the best yet as it looks to do the 'Best International Feature' and great film double like a South Korean 'Parasite'. Even if its nine Oscar nominations don't get a nod. It leads the gold face race at the 76th BAFTA's with 14.

'Im Westen Nichts Neus' and its compelling cinematography (James Friend, buddy) jars you with it's 'Saving Private Ryan' like imagery amongst tree's of Malick life like a raw 'Revenant', but also with the classic searing score by Volker Bertelmann (Hauschka himself) which feels and sounds like he borrowed the guitar off a White Stripe like 'Another Way To Die'. But it's the close-up of Kammerer's painful portrait on this picture that will stay with you like a flashbulb memory, evoking every emotion. Felix, and an accolade adorned, devastatingly good Albrecht Schuch are the emotional centre and the core of this movies band of brothers (Sebastian Hülk, Aaron Hilmer, Edin Hasanovic) camaraderie before the cruelty. One moment of true comradeship will stay with you like oil and mud soaked through the skin. But it's Devid Striesow who shows the pen-pushing true evil of those old men who send young to die at the simple stroke of something mightier than the sword. 

A 'Rush' of a Baron Zemo under the balaclava, Marvel famous face Daniel Brühl and his ever incredible and integral acting also signs up to sell this to the mainstream. Getting into the ink of the struggle for an agreement on an Armistice that's not part of the original text, but is one of the most important and influential pages in our history books. Blood-soaked uniforms coating the floors of cleaning houses in a river that runs red, before name tags are ripped out without ceremony. How beautiful the landscapes of battles really are like the poignant end to 'Blackadder Goes Forth', before trenches and terror are dug out of the soul in the soil. A fleet of foxes fleeing when they hear the foreboding. A truly harrowing and heartbreaking moment where pleading not to shoot is met with an even worse, abhorrent alternative. 

In the thin red line of truly great war movies, this belongs in the unflinching war chest with the ticking 'Dunkirk', the hell hath no scorn of 'Fury', a South Korean 'Brotherhood', Clint Eastwood showing respect to the other side in 'Letters From Iwo Jima' and of course the iconic 'Apocalypse Now'. 'All Quiet On The Western Front' has now become a saying that's part of modern day narratives. Michael Mann even uses it in the City of Angels before the 'Collateral' hell of a Tom Cruise club shoot-out in DTLA. But with 'Im Westen Nichts Neus', a new generation will finally get to learn about just what it means. Painfully loud and clear. TIM DAVID HARVEY. 

Further Filming: 'All Quiet On The Western Front (1930)', 'All Quiet On The Western Front (1979)', '1917'.

REVIEW: YOU PEOPLE

3/5

Meet The Prejudices. 

118 Mins. Starring: Jonah Hill, Lauren London, David Duchovny, Nia Long, Sam Jay, Molly Gordon, Elliott Gould, Rhea Pearlman, Anthony Anderson, Mike Epps, Julia Louis-Dreyfus & Eddie Murphy. Director: Kenya Barris. 

Kanye West. Kyrie Irving. Former 'College Dropout' and NBA heroes, recently fallen from grace due to sharing anti-Semitic comments and videos online. It doesn't matter if they are one of the greatest rappers and ball players of our generation. Geniuses in their respective fields. Just like comedian Dave Chappelle, who entered this awful group-chat on SNL recently, after shaking off the transphobic controversy of his Netflix special 'The Closer'. In this world where we are as quick to click the cancel button as we are to pick up our phones, should we stop listening to 'Ye's music? Should we retire Irving's jersey to the closet? The important issue here is to stop these type of remarks and racism in their tracks immediately. Whether it's from a close friend, or a dear family member. We can love people all we want. In all their nuances and flaws. But we shouldn't for a second give that same grace to any form of hate. 

So 'You People', which has started streaming on Netflix this weekend, looks like the perfect movie for this moment. And one to use satirical punch to poke fun, point fingers and show just what is at stake in the situation we are all in right now. Especially with some of the biggest names in comedy peddling this point that needs to be made in a mainstream where we are all too quick to forgive the transgressions of those we still want to listen to and see ball. 'Superbad' Jonah Hill ("from 'Moneyball'") is still making those great 'The Wolf Of Wall Street' career-turns. You should check out 'Stutz' on Netflix like you did his reunion with DiCaprio and his Streep scene-stealing turn in the post-apocalyptic 'Don't Look Up', which sadly went out with more of a whimper than a bang. But make sure you like and subscribe. The 'Mid '90s' director falls in love with Lauren London. The amazing 'ATL' actress who has found a big picture worthy of her famous like the city name. The perfect pair make for a charmingly cute couple who in this unmatched age show us love is still alive and thriving and can exist between all people, no matter your background. First task; smashed. 

Dum-dum-da-dum. It's all looking flower girl, white rosy. But then it's time to 'Meet The Parents' like Stiller and De Niro and guess who's coming to dinner? Legends Eddie Murphy and Julia Louis-Dreyfus. The 'Raw' comic fresh off Netflix's 'Dolemite Is My Name'. Playing it super-straight in Nation of Islam leader Louis Farrakhan's kufi in a scene as shocking as the Focking 'Parents' (erm) one where Mr. Jinx uses the wrong toilet. And we're not talking about one you shouldn't flush, ashes to dust. Whilst the 'Seinfeld' and 'Veep' great keeps redefining that awkward moment like Elaine dancing. Making the one were our cultural-crossed lovers meet look like a date walk in the park. An underused Nia Long and 'X-Files' legend David Duchovny bring even more to the party, despite playing the background. Grounding this film on a common, even keel. Duchovny scaring us silly like what's out there when be interrupts pimpin' his love for Xzibit with an impromptu rendition of John Legend's 'Ordinary People' on the piano.

Between barbershop and basketball court clichés, cringe-inducing comedy always reveals much more when you finally take your head out of your hands. And 'Black-ish' creator Kenya Barris uses all the tricks of his trade in an embarrassment of superstar riches. Legends like Elliott Gould and Rhea Pearlman (cheers to you). Cameos from classic comics like Anthony Anderson and Mike Epps. But it's a hilarious Molly Gordon (with the best line of the movie when she tells Jonah what he really looks like) and Sam Jay making points on her podcast that start this movie off with a bang! There's enough jabs here to spark after movie debates, which we sorely miss now most of our cinema date walks home have turned into Netflix and chilling with the drool that threatens the integrity of your keyboard as you try in vain to click 'Continue Watching'. 

And this move tries its hardest too. Sometimes way too as such (case in point: a hilarious take on Drake almost goes through his entire discography). But at least someone is. It just suffers from that troubling Netflix blockbuster trend that all the big names in the world can't always translate to something terrific on the small-screen. Reaching that fair and middling swipe-past section as you look for the service's more successful shows. Yet the sentimental schmaltz 'People' gets itself stuck into like sap is with the best intentions we could all use these days. What's wrong with the 'You People' movie? Nothing. But in the world we're in right now, we just need a little more. Alas, at least it starts somewhere. From here on out it's on us, people. TIM DAVID HARVEY. 

Further Filming: 'Guess Who's Coming To Dinner', 'Guess Who', 'Meet The Parents'. 

REVIEW: WHITNEY HOUSTON - I WANNA DANCE WITH SOMEBODY

3.5/5

Houston, We Have A Biopic. 

146 Mins. Starring: Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams & Clarke Peters. Director: Kasi Lemmons. 

The Voice is no talent show. Hit your buzzer all you like. The Voice is the one and only Whitney Houston. And with 'The Bodyguard' star and the 'I Will Always Love You' singer's brilliant biopic, she's finally given one. Albeit slightly sanitized, this is close to the bone and raw and real...but with all due respect. The tabloids already had their field day. We don't need to add insult to injury. Or tragedy. They called her troubled, but those throwing stones from glass houses should remember what completes the three T's like the late, great Michael Jackson's nephews. TALENT! In all, unapologetic caps. She outsold every other female artist in history. Mariah, Rihanna, Beyoncé. She outdid both Elvis and The Beatles with her seven straight number ones. Cap that! Her National Anthem in a tracksuit (here's to the late, great Aaliyah too) at the 1991 Superbowl jet soared above Marvin Gaye's soulful star-spangled 1983 anthem at the NBA All Star game and even Prince's Superbowl XLI halftime show in 2007. You just knew she was going to be a star when she captured the camera's eyes in the 80s pastel colourful video to her breakout hit 'I Wanna Dance With Somebody'. 

And now this bold and beautiful biopic takes you intimately into those moments. Because after all, "my love is your love and your love is my love." Even if that absolute anthem is glaringly missing here, especially with this movies "eternity to break us" themes. Houston hailed from Newark, New Jersey, but it's a great Brit in Walthamstow, London's own Naomi Ackie ('Doctor Who', 'Star Wars: The Rise Of Skywalker') who makes us believe the woman behind the voice we can see on screen really is Whitney. You will get lost in this like you did her soulful sound. One that critics cruelly claimed to be the product of "Whitey" Houston. It's not right, but it's OK (not really). She made it anyway. And then some. Ackie actualizes the mannerisms of her muse perfectly to a tee. There is none greater. There have been a slew of music biopics over the last few years. 'Judy', 'Elvis', 'Respect', 'The United States vs. Billie Holiday' to name just a formidable few. But this most underrated one deserves its place in the envelope. Storming the stage just isn't done any more, but if Naomi doesn't get a nomination. Man, I'll feel like defending this woman. 

Let's go girl! Ackie's amazing performance gives Houston no problems in regard to her legacy. Justice is finally delivered to her budding and blooming romance with best friend Robyn Crawford played with punch by 'Black Lightning's' Nafessa Williams. Today, this kind of love would be celebrated (with the good people), back then, it callously had to be concealed. The only saving grace perhaps is that despite the terrible, torrential tabloids, at least Whitney didn't have to go through her personal pain in-front of Twitter trolls and the firestorm that is social media. Yet her love and marriage under the bad influence of Bobby Brown took all the press headlines for the original black power couple before The Carters. Mesmerizing 'Moonlight' star Ashton Sanders makes it his prerogative to get to the core of the character in a chameleonic capturing. All the way down to the chipped tooth. Everyone's talking about them. 

Letting this musical drama live, hallowed 'Harriet' and 'Black Nativity' director Kasi Lemmons puts on the greatest show, man. From an outstanding 'Oprah' comeback to the magnificent medley of the big-three. Keeping classics like 'I Loves You, Porgy', 'And I Am Telling You I'm Not Going' and 'I Have Nothing' in a range that showed no one could touch her stratosphere. It was in a whole other solar system of stars. Just like the inspired iconic moments. Sitting in a chair on set, making a Dolly Parton classic her own with Kevin Costner watching. Or touching down at the Superbowl with an authentic take on the anthem which had a tear falling from my eye...and I ain't even American. These moments belong on the booming big-screen. Just like Houston did. With 'Wanna Dance' you really feel the heat of somebody who loves her.

Authorized by Clive Davis as well as the Houston family, of course the music maestro behind the likes of Judy Garland, Janis Joplin and many, many more figures prominently here. But that's perfect, revealing their relationship and also their genius songwriting study and process (an educational must for anyone who dreams that same dream). Reading 'Taste' by Stanley Tucci back home in the UK (where he now resides), this Christmas was a pleasure. But here 'The Devil Wears Prada' and 'The Hunger Games' star cooks up his best performance from the studio. And at least that bifocal and comb-over look is nowhere near as scary as the normally all-too likeable man is in 'The Lovely Bones' (now THAT'S range). But 'As The World Turns' it's Tina Turner lookalike Tamara Tunie (she would have been perfect for 'What's Love Got To Do With It' if it wasn't for the amazing, Academy Award-winning Angela Bassett) and 'Da 5 Bloods' standout Clarke Peters who are so nuanced and brilliant as Houston's parents. Soul icon and now Twitter legend Dionne Warwick is Whitney Houston's first-cousin. NBA star Gary Garland her half-brother. Her mother Cissy Houston was a great too. But with no nepotism, Whitney came from royalty and took her own throne. And now, Ackie aiming for an acting one, crowns this dancing queen. TIM DAVID HARVEY. 

Further Filming: 'Respect', 'Judy', 'Elvis'. 

REVIEW: DEVOTION

3.5/5

Top Gunners. 

138 Mins. Starring: Jonathan Majors, Glen Powell, Christina Jackson, Daren Kagasoff, Joe Jonas, Spencer Neville, Nick Hargrove, Serinda Swan & Thomas Sadoski. Director: J.D. Dillard. 

Maverick, major talent Jonathan Majors is on the cusp of another career breakthrough. 'The Last Black Man In San Francisco' breakout actor is about to steal the show with two villainous roles to begin 2023. With the popular 'Ant-Man' (after making his game-conquering debut in the MCU as Kang in 'Loki') and 'Creed' ('III' enters the ring aptly on 03/03/23) franchises, respectively this February and March. But before He Who Remains enters the 'Quantumania' with a knockout, he gives his 'Devotion' to a historical movie set in America's "forgotten war" in Korea. This Sony picture now making its Netflix debut in Japan alongside such major Majors pictures like his coming out party in Spike Lee's 'Da 5 Bloods' with the late, great Chadwick Boseman and the all-black western produced by Jay-Z, 'The Harder They Fall'. 

The aforementioned amazing film saw Jonathan portray real life cowboy Nat Love. Now like Chadwick's early career (Jackie Robinson in '42', James Brown in 'Get On Up', Thurgood Marshall in his last name), Majors compels playing another real-life hero. United States Navy Officer Jesse Brown. The first African-American aviator to complete the United States Navy's basic flight training program. One character remarking that it was like watching Jackie round for home in another moment of history before their eyes down a different path. A recipient of the Distinguished Flying Cross. A trailblazer and a pioneer. Majors pays him the most respect and reverence with a real and powerful as such performance. Accented to the time and aware of the raw racism of the age that is not caught in clichés of biopic basics, this man has more than honour. He has a grit as true as Bridges. In his finest hour one motivational moment of this man in the mirror will break your heart. What he does next will stir your soul. But it's this pilots 'Devotion' to his beautiful wife (a wonderful Christina Jackson) and daughter that really takes wing. Like the closing of his letters home that he writes every week. His, not ours, to share. 

But as 'Sleight' and 'Sweetheart's' J.D Dillard dynamic directions take to the same skies of a long-awaited 'Top Gun' sequel (and the Lady Gaga theme that holds your hand), how could we forget wingman of the year, Glen Powell? Not only does this movie frame-for-frame match 'Maverick' in its aerial assaults, a year where the sequel to a 1986 movie ruled the air. It also features Powell himself by Majors' side as real-friend (like the families to this day) Tom Hudner. The 'Hidden Figures' star has plenty of air-miles for America, but 'The Dark Knight Rises' and 'The Expendables 3' bit player is finding his stride. With these two co-pilot films, 2023 was his year. Yet forging a 'Mudbound' like bond with Majors despite the era and expressing just as much emotion as his wingman, Powell hammers home a powerful performance. 

Based on Adam Makos' moving account in the book, 'Devotion: An Epic Story of Heroism, Friendship, and Sacrifice', the comradeship of this compelling cinematic journey is not a wasted history lesson as a standout Thomas Sadoski ('The Newsroom') sums up what really happens to war heroes profoundly. There's playing it safe, 'Memphis Belle' beauty to the purity of this patriotism and inspiration in its intention. Yet, it's not afraid to knock you through an emotional loop like a 'Catch-22'. Just without the blood and guts of most war movies today. Sure, they capture the real brutality of battle, but don't give this one any flack. We need films our kids can see too. Especially with those in power trying to rewrite history in schools. Daren Kagasoff, Spencer Neville, Nick Hargrove and Jonas Brother Joe make the rest of the crew a bantering and brilliant band of brothers. But it's 'Graceland' star Serinda Swan as a perfect Elizabeth Taylor who will stun you with more than disbelief. This true story is one for sure to be seen. And just maybe it will leave us believing in the devotion to a better way once again. TIM DAVID HARVEY. 

Further Filming: 'Red Tails', 'Mudbound', 'Top Gun: Maverick'. 

REVIEW: THE MENU

4/5

Death By Chef.

106 Mins. Starring: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Aimee Carrero, Paul Adelstein, Reed Birney, Judith Light & John Leguizamo. Director: Mark Mylod.

Late to the table, but for your consideration, Fox Searchlight Pictures would like to invite you to try 'The Menu' as they so eloquently and aptly put it. So, would you like to see it? 

Appetizers.

For starters, how about an amuse bouche of foreboding? In this revenge dish, best served as only you know too well.

A seasoned Ralph Fiennes. In his prime like steak. 'The English Patient' mouth-watering and deliciously dark after his turns for the crown as M in Bond's 'No Time To Die' and 'The King's Man' perfect prequel. Say yes to the chef that could even give Gordon Ramsay kitchen nightmares, as he claps his hands together. 

'The Queen's Gambit' of the 'Peaky Blinders' period perfect, Anya Taylor-Joy is fair game in a restaurant chocked full of entitled people, ripe for picking. No stranger to a 'Split' or 'Last Night In Soho' escape plan, this may be the run that finally finds the most amazing actress of the moment's award. 

Main Course.

How about a cheeseburger more F. O. M. O., food porn, taste bud teasing (sorry, Five Guys) than that grilled cheese sandwich in Jon Favreau' s 'Chef'? But don't worry, you'll get to that later. Maybe this chef's table will have its cake and eat it own spin-off cooking show too. 

A dark comedy horror, seared to chef's special perfection under the decadent direction of 'Succession's' Mark Mylod indulging those who only feed their sense of self, before spoiling us all. A man who knows how to make things roll (heads) without filling up on bread. 

The perfect place setting and sublime scenery in this satire produced by Adam McKay and Will Ferrell (back together again after we thought the show was over with 'Winning Time') and Betsy Koch. A classic concept conceived not just to poke forks at the 'have their cake and eat it' crowd, but also to stick the scissors in and needle those superstar chefs who think their celebrity is more important than their culinary delights. 

(Just) Desserts. 

Just deserts to Nicholas Hoult. 'About A Boy', this Great Brit is normally so likeable ('Warm Bodies' (ain't that the truth) and 'Tolkien' for his rings of power). But here with 'Favourite' ponce, he's a pompous Beast. A food groupie who would sell someone else's pound of flesh all for some soulless food that fills up on the pretentious. "Foodies"! Ugh! 

More 'Knives Out' (or should we say "in" like the sequel name Rian Johnson should have gone with?) than a 'Glass Onion' on Netflix. But nowhere near as predictable as we peel back each layer until we cry like someone split the wine glass stem instead of the bill. Watch your fingers! 

Sweet revenge in a death by chocolate finale your palette will never quite identify. Just when you thought the "coast" was clear. One that's anything but cheese and biscuits bland.  You'll be screaming everything like bloody murder. Except "Taco Tuesday" like LeBron James. 

Drinks.

Here's to the maître d'hôtel Hong Chau. The 'Downsizing' breakout star from the HBO 'Watchmen' series really is the master of the house. Making the most of her calendar menu with this and 'The Whale' of the Oscar time everyone is talking about with Brendan Fraser's latest. Nothing escapes this maestro of a performance. And just wait until she gets your coat. 

A toast to Janet McTeer. Who would have thought that the legend herself could give us a character even scarier than her outstanding 'Ozark' one? But then again, how many food critics have you met?  Her editor,  'Memoirs Of A Geisha' supporting star Paul Adelstein (so good in Kevin Hart's 'True Story' for Netflix last year), now knows how the 'Prison Break' characters he hunted for ego sport, as well as law and order like William Fichtner feel. 

How about another round for John Leguizamo? The character actor legend who brought bad (actually good) tidings to David Harbour's Santa for a 'Violent Night' 'tis season is the "movie star". And he steals the show like he does the headlines with the fact that he based this character on "the worst person (he) ever met... Steven Seagal." Well, I must be under siege. Because I actually liked his character. Maybe his long-suffering personal assistant doesn't share my sentiment. But Aimee Carrero 'Level's Up' and plays her perfectly. 

Add a couple of legends to the mix in the form of Reed Birney and Judith Light (with the best gesture of the whole affair) to this simmering plot pot, and you have a recipe for a beautiful disaster. Let it all boil over. 

Stick a fork in 'The Menu'. This is done. Well done. A rich delight for your serving. Now, how about seeing a wine list? TIM DAVID HARVEY. 

Further Filming: 'Glass Onion: A Knives Out Mystery', 'Burnt', 'Chef'. 

REVIEW: THE PALE BLUE EYE

3.5/5

Dancing With The Devil In The Pale Moonlight.

128 Mins. Starring: Christian Bale, Harry Melling, Lucy Boynton, Gillian Anderson, Toby Jones, Timothy Spall & Robert Duvall. Director: Scott Cooper. 

Eyes on Batman dancing with the devil in you know what kind of light. Pale tones offset this prestige picture in time for awards season as Netflix does battle for the Academy with Disney +, amongst others in the post (we hope) pandemic way to watch movies after corona crippled cinema. In the red corner we have 'White Noise' and the 'Glass Onion' peeling of the purchased 'Knives Out' franchise for the world's most famous streaming service (and now this). In the Mickey blue eyes, a side Searchlight deal with Fox for favourites laying Oscar ground like 'The Banshees Of Inisherin' and the macabre meal of 'The Menu', saying yes to death by chef. Now if you want more 'Sleepy Hollow' horror this cold Winter, look no further than 'The Pale Blue Eye'. 

Dark delights straight out of a Guillermo del Toro 'Cabinet Of Curiosity' head straight for you like the forlorn fog of a 'Nightmare Alley'. As 'Out Of The Furnace', Christian Bale reunites with 'Black Mass' and 'Crazy Heart' director Scott Cooper for the third time with charm. As the two form an actor/director triple-threat partnership like David O. Russell and the 'Amsterdam' actor. Although nothing can enter the territory of one of the hallmark greatest westerns in their last collaboration (2017's 'Hostiles'). 'The Pale Blue Eye' reads through a gothic, mystery thriller adaptation of the same name by the book of Louis Bayard. A man is found hung, with his heart carved out of his chest. Forget Colonel Mustard with a pipe. Only a poet could have done this. Or that's at least what the legendary one Edgar Allen Poe thinks. On the case with Bale's emotional mastering, dark detective of the night (with one hell of a riff on a 'Goldfinger' like line), that's a far cry from Batman, is the legendary writer himself. 

John Cusack portrayed Poe in 'The Raven' of over a decade ago in 2012. Now it's the turn of a wonderful Harry Melling whose earned our forgiveness after torturing 'Harry Potter' under the stairs thanks to a 'Queen's Gambit'. Here he has bar-room candlelight, compelling chemistry with Christian who treats this young cadet like a surrogate son after the disappearance of his own daughter to a wayfaring stranger, passing through town. It's enough to keep the plodding plot of this slow Bunsen burner going. Oil to the wheels of a narrative that stays the course even when the twisting mystery of this whodunnit with more layers than a 'Glass Onion' doesn't. 

1830, West Point, New York. America may look unrecognizable, but this cast of characters doesn't (play spot the Netflix star like the 'Ozark's' Charlie Tahan). Lucy Boynton ignites the screen like she did in Queen's 'Bohemian Rhapsody'. Whilst the couple of a scene stealing, 'The X-Files' legend, 'Sex Education' star and 'The Crown' taker as Margaret Thatcher, Gillian Anderson and character actor favourite Toby Jones (so good in 'The Detectorists') intrigue even more. More heft is offered from every man actor (from 'Sweeney Todd' to 'Spencer', 'Mr. Turner' actor) Timothy Spall, to the 'Crazy Heart', 'Hustle' of an almost unrecognizable (that voice) Godfather of all the greats Robert Duvall. With cast lists like this, what could go wrong? Well, there's plenty of toil and trouble and paling in comparison to some of the other Oscar fare, we know from Gray men before that Netflix big bucks doesn't always equate to home box-office success and critical praise. Yet, there's enough black magic here to give this 'Blue' movie an eye. Even if the real poetry belongs in the prose. TIM DAVID HARVEY. 

Further Filming: 'The Raven', 'Hostiles', 'Guillermo del Toro's Cabinet Of Curiosities'. 

REVIEW: SHE SAID

4/5

Her Story. 

129 Mins. Starring: Carey Mulligan, Zoe Kazan, Patricia Clarkson, Andre Braugher, Jennifer Ehle, Tom Pelphrey, Samantha Morton & Ashley Judd. Director: Maria Schrader. 

'Kiss The Girls'. Sleazy title and quite possibly the worst way to start an article of this nature, but there's a point we're trying to make here. Bear with us. The 1997, Morgan Freeman thriller sequel to 'Along Came A Spider', based off of James Patterson's Alex Cross novel co-starred Ashley Judd. In the midst of the hot-streak of her career, featuring films like 'A Time To Kill' and 'Double Jeopardy'. Far too close to the bone now, this film featured a man who abducted and imprisoned girls, keeping them as sex slaves. We only have to see the documentary series 'Surviving R. Kelly' to learn how much of this really goes on today behind the scenes, even with previously popular people in the public eye. There's a pivotal scene that means so much more now where Ashley Judd's character Kate escapes from her captor, crassly called Casanova. She's drugged and beaten after being assaulted many times. She has to make her way through a cutting and biting forest, whilst delirious in the middle of nowhere. Then, Kate gets to the edge of a cliff with more disorientating branches and what's worse, a waterfall below. Her captor catches up. She takes a look below. Back at him. She jumps. 

And she survives. But that's nothing compared to the jump Ashley Judd took in real life. When she decided to speak about her abuse and harassment that disgraced Hollywood producer Harvey Weinstein put her and countless other women through. In 'Kiss The Girls' her character Kate in that cliff edge risked it all to escape even worse. In real life Judd risked even more. And that was after Weinstein derailed her runaway career that was really hitting its stride...and still can now in the wake of all this. She's always been an amazing actress. Now, she's an American hero that translates across the whole world and the Me Too movement that finally after so long is giving women a voice and holding men accountable. Having Ashley Judd play herself in 'She Said' gives this movie an authenticity like no other. But it's more than that. Or the fact that this 'Bombshell' beginning movie that also takes Trump to task gives the inspired big-three of investigational journalism movies (Meryl Streep and Tom Hanks' 'The Post', a similar 'Spotlight' ensemble and of course Robert Redford and Dustin Hoffman's 'All The President's Men') a run for their broadsheet headlines. 

'Unorthodox' director Maria Schrader doesn't need Hollywood tricks and tropes to hammer this home for a film that is more about the award season it will surely clean up at. Although one harrowing scene playing a tapped conversation between Harvey (if it wasn't for my beautiful family I share it with, I'd be disgraced to have this as my last name and actually stopped using it as a nickname) and one of his victims played out across hotel hallways is more haunting than 'The Shining'. This factual take on The New York Times' investigation about Weinstein's abuse and sexual misconduct, based on the work of the heroic journalists Jodi Kantor, Megan Twohey and Rebecca Corbett and the first two's book of the same name is as straight-forward real as it gets. No Hollywood bulls###...in any form. 'She Said' is not a "that's what" pun or play on words, but the most important movie and movement of our time. 

'Promising Young Woman's' Carey Mulligan ('Never Let Me Go', 'Drive' and 'The Great Gatsby') is no stranger to moments like this. Leading the 'Suffragette' movie movement. But now before the awards she deserves and is bound to get, she gives us one of her best acting performances alongside 'Shame', 'Inside Llewyn Davis' and the wildfire that was 2018's best 'Wildlife'. But it's 'Ruby Sparks', 'The Big Sick' and 'The Ballad Of Buster Scruggs' best story star Zoe Kazan that really takes her moment in this picture that is much about each other as 'The President's Men' was legends Redford AND Hoffman. Actresses like Judd, Rose McGowan (who made the first claim) and Gwyneth Paltrow (who vocally appears as herself in a truly terrifying moment over the phone with Harvey in the room) amongst many, many more were initially afraid of the blowback. But this movie holds hands with one continuous, safety in numbers notion. We can all jump if we do it together. So what if this movie was a box office bomb. It's more than just those numbers. What it's set off is something much more explosive, no one can bury. 

82 women came forward against Harvey Weinstein who is now in prison, serving a 23-year sentence. Who knows how many more? But 'Zero Dark Thirty' and 'The King's Speech' star Jennifer Ehle and 'Minority Report' and 'Fantastic Beasts and Where To Find Them' star Samantha Morton (finally getting her due this year like Brendan Fraser with 'The Whale' amongst many more give strength and respect to the victims with their heartbreaking, but hopeful performances. 'Brooklyn 99's' Andre Braugher and the always amazing Patricia Clarkson (not to mention a supportive 'Ozark' and 'Iron Fist' standout Tom Pelphrey) also bring fortified roles to the fore at the top of The Times. But it's much more than them, or even our two leads and the real life journalists who are finally getting their respect, words off a page. It's about the real victims who stood up against a horrific and horrifically powerful figure and won. Not just for them, but all the women before them and after who now have the courage to hold up their hand and say, Me Too. Now THAT is a Hollywood movie about real heroes. TIM DAVID HARVEY. 

Further Filming: 'Bombshell', 'Spotlight', 'All The President's Men'. 

REVIEW: WHITE NOISE

3.5/5

It's The End Of The World As We Know It (And I Feel Funny).

136 Mins. Starring: Adam Driver, Greta Gerwig, Raffey Cassidy, Sam Nivola, May Nivola, Jodie Turner-Smith, André Benjamin, Bill Camp & Don Cheadle. Director: Noah Baumbach. 

The arc of Noah Baumbach's talent blends the absurdity of regular life with end of the world (or ours as we know it) scenarios to an outstanding, offbeat effect. But it's not all just 'White Noise' streaming on Netflix right now. 'The Pale Blue Eyes' of Christian Bale befriending great American writer Edgar Allan Poe for a murder mystery. Rian Johnson's 'Glass Onion' with Daniel Craig's Benoit Blanc for the latest 'Knives Out Mystery'. And that's just that service. There's a 'Menu' menagerie of dark and delightful movies to intrigue this Academy season. All the way to 'The Banshees Of Inisherin'. Baumbach is also no stranger to all this. After 'The Squid and the Whale' envelope pushing and snapping director hit a new Netflix deal with 'The Meyerowitz Stories (New and Selected)', folded paper opened up for him as the Oscars underscored his 'Marriage Story' with Scarlett Johansson and Adam Driver. 

Reuniting again with a receding, but paunched (stomach, "I got you" meme), chameleonic Driver. Co-starring great director Greta Gerwig (the 'Little Women' redefining auteur director about to change the game again with Margot Robbie's 'Barbie' and Ryan Gosling's Ken) with a can of 80s hairspray and a reminder that like fellow best director of our generation Olivia Wilde, it's so great to see this '20th Century Woman' act again. 'Stranger Things' are happening in the Tide of this nostalgic sweep through a supermarket of a local town in the Midwest consumed in the dream of Americana. From something in the clouds scarier than what Will Byers saw in the Upside Down. To a curtain calling dance number down the aisles to LCD Soundsystem's 'New Body Rhumba'. 

A classic moment like many in this disjointed but dynamic movie. Finally, forging ahead with the adaptation of Don DeLillo's 1985 novel of the same name, previously deemed unfilmable. But I digress. From an "airborne toxic event" (sound familiar?), all the way down to a great debate between Adam's professor of Hitler studies and a best in years Don Cheadle (and we love this War Machine and didn't forget 'Miles Ahead') waxing lyrical on the same King Baz Luhrmann, Austin Butler and Tom Hanks' Colonel did. There's pointed nods towards our current COVID state of emergencies as these characters mask up against those US conspiracies (although Bill Camp's cameo is more than classic in theory, let me take a sip of my drink). Not to mention a Chevy wagon stationary in a bed of water that feels like something chased out of a National Lampoon movie. It meant "bear right" like Dwight said. 

Adam drives home an incredible, nuanced performance all the way to awards season. As does Gerwig staking her claim back in the acting game. One moment of heartbreaking intimacy is as inspired as it is as real as it gets. Along with the aforementioned Cheadle and Camp, Peterborough's own Jodie Turner-Smith scene steals 'After Yang' and the 'Queen and Slim' career coming out party. Whilst an Outkast in André Benjamin also finds a home and the best dance down the aisle with cookies since he shook it like a Polaroid picture. Hey Ya! Yet for all the big stars here in this muddled, but mesmerizing movie that pays tribute to so many tonal tropes of classic cinema from the canon with outstanding originality, it's the kids that make the most sense. Making more meaning out of all these debates of high intellect in this art piece. 'Tomorrowland' and 'The Killing Of A Sacred Deer' star Raffey Cassidy has already claimed her place, but she owns it here. Yet the real stars of the future are the whip-smart Sam and May Nivola. What more could you expect with parents like Emily Mortimer and Alessandro Nivola? Amongst all the 'White Noise', Noah Baumbach gives us a family story for the ages. It may be the end of the world, but at least we have each other. TIM DAVID HARVEY. 

Further Filming: 'Marriage Story', 'The Meyerowitz Stories (New and Selected)', 'The Squid and the Whale'. 

ANIME REVIEW: SPY x FAMILY - Season 1

4/5

Spy Game.

25 Episodes. Starring: Takuya Eguchi, Saori Hayami & Atsumi Tanezaki. Director: Kazuhiro Furuhashi. 

I spy, with my little eye. Something beginning with, "how do you do, fellow kids". Like a skateboard slung over the shoulder, Steve Buscemi meme. Operation: relate. As an English teacher in Tokyo I see 'Spy x Family' t-shirts on everyone. On kids I teach and adults old enough to be my parents (and I'm pushing 40). The juggernaut that is this hugely popular anime adaptation of a massive manga is everywhere. Trading cards, Pronto promotions in coffee shops, plush toys just waiting to be grabbed by metal fingers as we claw at the controls in Akihabara. It's to Japanese animation what BTS is to South Korea and the watching world. 

Netflix, Disney +, Amazon Prime, let alone Japanese TV, they have all got 'Family' time last year, for Kazuhiro Furuhashi's fantastic quarter-century of episodes. And Season 2 and a movie are already in the works too. That's just how much these spies are in demand. Just like the characters themselves in need to play house and go back to school, all to grab more stellas than the star drinker at your local bar. All undercover in the Berlint, Germany like setting of this sensational Japanese anime that captures the cobbled, compelling, boundless beauty of old European cities, day and night. 

In Japan, they say we all have three faces. One we show in our work and everyday lives. One we show our friends and family. And one we only reveal to ourselves, behind the mask. Well, this 'Spy x Family' is made up of an assassin, a telepath and of course, a spy (think Brad and Angelina's 'Mr and Mrs. Smith'). With incredible vocal work from Takuya Eguchi, Saori Hayami and Atsumi Tanezaki. And none of them are any the wiser when it comes to each other (nice detective work), apart from Anya. The cutest thing to happen to anime since Kiki's Jiji on Ghibli. And let's not forget the lovable Beethoven sized, yuki dog that is Bond. He and his endearing woof may just be a secret agent himself. 

The action is amazing, the detection is a masterclass in deception and as for the heart and humour, you won't know whether you're crying due to a lump in the throat, or a tickle in the ribs. The comic timi...perfect...excuse me. Sorry. The comic timing is perfect. From home to school. The charm and joy of the manga is brought from page to cell screen with delightful results. Anyone for tennis, dodgeball, or a trip to 'Penguin Park' (for a mid-season finale that does anything but waddle)? Because by the time you get to the 'To Be Continued' end, you'll wish you made 'First Contact' sooner, bumping this blossom to Autumn leaf theme like chicken this Christmas. You'll love this like Anya loves peanuts. In a word, elegant. TIM DAVID HARVEY.

Further Anime: 'Holmes In Kyoto', 'The Millionaire Detective', 'In/Spectre'. 

REVIEW: GLASS ONION - A KNIVES OUT MYSTERY

4/5

Knives In. 

139 Mins. Starring: Daniel Craig, Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline, Noah Segan, Jackie Hoffman, Dallas Roberts, Kate Hudson & Dave Bautista. Director: Rian Johnson. 

Motown's finest Marvin Gaye and Tammi Terrell once told us, "the world is just a great big onion". But 'The Onion Song' in this 'Knives Out Mystery' is the 'Glass Onion' John and Paul sang about. The Beatles aren't a clue, so save your tears. Now Netflix has acquired 'Star Wars-The Last Jedi' and 'Looper' director Rian Johnson's 'Knives Out' franchise and Daniel Craig's post-007, world's greatest detective Benoit Blanc, a new game is afoot. Take that, Poirot! And overlooking an infinity pool with a glass of his poison. Steeped in a blue and white striped one-piece that could even rival his blue speedo beginnings as Bond. 

Craig shakes it up with a licence to thrill after stirring us as Ian Fleming's famous James. Now with another Herculean role that could rival Hercule's handlebar moustache, we must ask you. Shaken or stirred? Which one do you prefer? Because this might just be his next iconic, perfect part that could last for years and years now Rian's been given the Netflix big bucks. Whilst we're all busy wondering whether a 'Luther-an' will be the next spy on Her Majesty's (rest peacefully our Queen) Secret Service, Craig has given us an accented Blanc slate. No s###, Sherlock! 

Whodunnit is what we all ask though. In this 'Knives Out' sequel 'Glass Onion', that is as different and extravagant as Kenneth Branagh's own 'Murder On The Orient Express' Agatha Christie follow-up 'Death On The Nile'. The ostentatious beginnings at first are off-putting in these lifestyles of the rich and famous. But the epic end made up for all of their spoils. Just how the gaudy Gatsby party starting of Baz Luhrmann's remake adaptation of F. Scott Fitzgerald's sacred text gave way to some definitive DiCaprio drama by the third act. But let's get back on the case. 

Chocked full of a box of chocolate worth of cameos, you never know who you're going to get (no, not him, sadly). And with so much to go around, you won't know who has blood on their hands like Colonel Mustard in this Cluedo. Shout out to Jeremy Renner's secret sauce though (the only thing we'll spoil), just so we can say get well soon to the official strongest Avenger, wishing him a speedy recovery. Blanc staying at home with the ultimate, perfect surprise in this masked-up, but unsanitized COVID movie, even has a who's who, Zoom friends list. Detecting all the great writers. From a Los Angeles Laker NBA legend, no stranger to Sherlock fiction. To two late, legendary figures this movie pays tribute to in inspiration. 

Easter eggs, hidden clues and so much more reveal themselves as we break and peel back this 'Glass Onion', layer by shard. But guess who's coming to Edward Norton's (so good at signature slime) Elon Musk like repugnant character's dinner? As the great Jackie Hoffman, Dallas Roberts and Noah Segan, channelling the lazy song of Brad Pitt's scene stealing 'True Romance' cameo all make small, but significant roles to this call. But how about those entitled to make a killing? Leslie Odom Jr. knows all about this having been witness to a murder most foul on the 'Orient Express'. Whilst Kathryn Hahn knows how to hide in plain sight following her scene stealing in 'WandaVision'. Add Kate Hudson, bringing signature screams back like a siren, and Netflix underrated actress of the decade Jessica Henwick in assistance, and now it's a party. 

Especially with Dave Bautista shooting from the hip with an even more character revealing Madelyne Cline coming out in her own, by his side. But for all the players here, it's musician, author (thanks for the signed copy of her short stories, my bestie) and 'Hidden Figures' standout Janelle Monáe who truly owns this. Crashing and crushing everything. We really hope the show goes on with even more all-star casts for this franchise. Netflix have one more in the bank and Johnson and Craig are all in for long as each other is. Get out your good silverware. More A-list guests are on their way. The knives are still set to be out. TIM DAVID HARVEY. 

Further Filming: 'Knives Out', 'Death On The Nile', 'No Time To Die'. 

REVIEW: THE BANSHEES OF INISHERIN

4/5

In Inisherin.

114 Mins. Starring: Colin Farrell, Brendan Gleeson, Kerry Condon & Barry Keoghan. Director: Martin McDonagh. 

Are they rowing again? Colin Farrell and Brendan Gleeson. Irish icons 'In Bruges'. Putting that place and Martin McDonagh on the map with his directorial debut before 'Seven Psychopaths', the 'Three Billboards Outside Ebbing, Missouri' Oscar glory and a marriage to a 'Fleabag' and the world's greatest writer Phoebe Waller-Bridge. Now the three reunite for the tragicomedy, spiritual sequel of 'The Banshees Of Inisherin', like the lifelong friends that they are. But there's a severed finger in the pint and more tragic (like Brendan's 2021) 'Macbeth' like foreboding than Farrell's 'Lobster' boiling, biblical proportions of 'The Killing Of A Sacred Deer' with Yorgos Lanthimos. Oh, and the best young actor of our generation Barry Keoghan is here too. Reuniting with this Penguin like 'The Batman'. But the real draw to Inisherin like Bruges may just be the loving sister act of Kerry Condon and one heartbreaking scene that shows us it's not just the perfect partnership of the two leads that faces an impasse in the absurdity of all this black humour. 

"Everything was fine yesterday" for this Toronto (if you want a nice story this Christmas, Google Colin Farrell at the 2007 festival. It involves a homeless man, camping equipment and a night in a hotel) and Venice Film Festival favourite that is one of the best films of last year, despite the Fox Searchlight and Film4 (won't be long before it's on the telly) picture only streaming on Disney + last week (cue the, "I haven't seen it (or you) since last year" Dad jokes). But today, it's all gone to pot. Despite Farrell winning the 79th Venice Volpi Cup for Best Actor and McDonagh the Golden Osella for Best Screenplay (expect the Globes (a leading eight nominations and most since Gleeson's 'Cold Mountain' in '04) and Academy to follow suit). The tail-gunning end of the Irish Civil War in 1923 serves as an across the sea backdrop to the end of a friendship. Gleeson's folk singer and increasingly fiddly violin player Colm Doherty doesn't want to be friends with Farrell's drinking buddy Pádraic Súilleabháin any more. And as one character puts it, "what is he? 14?" But in the Winter of his life he goes cold due to his friend who loves his donkey like Forrest did Jenny's "dullness" (I'd have a swift half with you, Col). He doesn't want to waste his remaining years with him. Working on music and writing a swan song for his old pal. And that on the surface feels like all she wrote...or he played.

Yet this moving metaphor for the war and literal reflection on any relationship we've loved and lost reveals more in its macabre and madcap nature. There will be blood and hell to pay in this brimstone tale by the solitary sitting room fire, as we desperately look in from the window. Trying to find our way in through all the mistakes we've made and bonds we've broken. Sheep-shearing, this folky tale sears through you with a snakebite pint of lager with and blood woe. Glum and great, Gleeson continues the 'Calvary' of his legend. His character just wants to be remembered. And how could we ever forget this actor? But how come Colin Farrell is always on the outside looking in when it comes to the best actors? He's one of the greatest of our generation. Even when you don't recognize him. His outstanding Oswald Cobblepot looking more like 'Curb Your Enthusiasm's' Richard Kind, but with enough beak to literally waddle to its own HBO Max spin-off series for the 'True Detective' star. Doing his best work collaborating with McDonagh and Lanthimos, the indie and blockbuster tweener is clearly having his best year in Gotham and Ireland, with acclaim in Ron Howard's 'Thirteen Lives' and the science-fiction drama 'After Yang'. And it's time we all saw it and them. 

A long way from 'Bruges' and jokes about "filming midgets" and "c### kids" (both still classic, even in this day and age), there's more to this movie than the landmark 'Harry Potter' and 'Fantastic Beasts' stars. A class cast of lovely locals line it like the bar of your local pub during happy hour. But it's two supporting stars and their pivotal scenes that truly power this home. Ever since he killed your sacred deer and broke our hearts in 'Dunkirk', Barry Keoghan has been on one. Stealing the show in big pictures like 'The Green Knight', Marvel's 'Eternals' and one as a classic character reveal and a dynamic deleted scene that we simply won't spoil. And this one too. As in his 30th year, he really is as The Irish Times names him, one of Ireland's greatest actors. Just like the dual, duelling stars and the soul of this story Kerry Condon. 

All flowers on this theatrical stage for the youngest actress to play Ophelia in the Royal Shakespeare Company's production of 'Hamlet', who started her career in Ireland's 'Ballykissangel', just like Farrell. You may know her as Iron and Spider-Man's reliable voice of F.R.I.D.A.Y in many Marvel movies. But by this film for Friday, her own voice will be heard like a banshee. Caring and confronting, this love letter to all we've lost and those ties that will bind us from ever reaching out again, offers you a hand to all this. Knocking at the door of our collective despair like a couple of chubby fingers. The last time Gleeson tried to warn Farrell of the weary things to come, he left it all on the floor of a cobbled street in 'Bruges'. If we don't pay heed to what's laid bare here, we're all bound to walk the same path. One paved in a raw regret we won't see coming unless we take that fork in the road ahead. Therefore, if this doesn't make friends with Oscar, I will scream like a banshee. Watch this for feck’s sake! TIM DAVID HARVEY.

Further Filming: 'In Bruges', 'Three Billboards Outside Ebbing, Missouri', 'The Killing Of A Sacred Deer'.