REVIEW: CALL ME CHIHIRO

4/5

Call Me By My Name. 

131 Mins. Starring: Kasumi Arimura, Hana Toyoshima, Tetta Shimada, Van, Ryuya Wakaba, Yui Sakuma, Itsuki Nagasawa, Miwako Ichikawa, Keiichi Suzuki, Toshie Negishi, Mitsuru Hirata, Lily Franky & Jun Fubuki. Director: Rikiya Imaizumi. 

Sex sells, sure. Yet the reasons for streaming 'Call Me Chihiro' have absolutely nothing to f###### do with all that. Pardon my Japanese. Rather the real and raw drama coming out of Netflix this week shares much more soulful strands of DNA with the heart of 'Romance Doll', instead of what goes on between the sheets. Just like Japan, the private but intimate land, does with all its devotion and dedication to the real truth behind what's taken at first face value by most. As a result, this former sex worker turned bento shop employee can be put in the same box as the legendary Kirin Kiki of 'Sweet Bean' fame. Albeit just as free and wilful a soul. 

Directed with delicate decadence by the 'Little Love, Little Nights' of Rikiya Imaizumi ('Our Blue Moment', 'Same Old, Same Old') with an eye for the slice of life. This sleepy seaside town features an eclectic cast of characters and some of the finest actors, young and ogisan (that's what the kids call me), working in Japan today. But it's 'Phases Of The Moon' and 'We Made A Beautiful Bouquet' star Kasumi Arimura who will have you calling her by her name. Much more than giving humanity and nuance to both the work of prostitution and the notion of free love that has nothing to do with idle play and more a well-thought-out choice, this is a complete character fleshed out by actor, subject to muse. So much so, Japanese award shows will line up around the block, like customers new and old, for this revelatory actress of tenderness and grace, buoyed by heart and smarts. 

Translate what she says here, lifted from the pages of a classic manga series ('Chihirosan'), and you'll have the next affirmation that will carry you further than a social media post, or cat poster to pin. This is why all the lonely people like 'Eleanor Rigby' come to her, no matter where they come from. Whether it be a schoolgirl stalking with a smartphone (a heartbreakingly good Hana Toyoshima), saying something about our addiction to anime and the impossible standards of artificial reality beauty set by their character creations. Or the cutest kid (especially when he gets his food) played perfectly by Tetta Shimada. 

Van, such a big-name she only goes by one like Rihanna, is the ideal best friend to keep this vehicle of subplots moving, twisting and turning down the long highway. Whilst standing up for others the repressed anger of Ryuya Wakaba comes from a much darker place than inside, as the light of love lifts him from the horrors of home, for a brief respite. 'You Are Forever Younger Than Them' standout Yui Sakuma also shows the oft-ignored frustrations of single parents, in Japan especially. Showcasing her skill in the short change of scenes she has. Whilst 'Follow The Light' of Itsuki Nagasawa, and you'll find the best friend that everyone needs like the mentoring of Miwako Ichikawa. 

But it's the vets that show they are just as alright as the kids. Keiichi Suzuki plays a quiet but kindly old man living on the streets with grit and grace. And shop workers Mitsuru Hirata and Toshie Negishi reveal hidden delights like the different compartments of a bento box. But whilst 'Shoplifters' great Lily Franky navigates the underworld of those of the night with pure heart and comic relief, understanding just what it takes. It's Jun Fubuki's blind patient who will really make you see more when your patience is rewarded with the simple and sweet delights of this hard worked movie of grafters, hidden behind 9 to 5's. Calling on Chihiro is more than comfort food that soothes the soul. It's nuance that nourishes a movie industry and streaming service sorely needing that. Netflix in Japan is carving its own little slice that will give you portions of love and life that will keep you going well past lunch. Dig in. TIM DAVID HARVEY. 

Further Filming: 'Sweet Bean', 'Romance Doll', 'Our Blue Moment'. 

REVIEW: THREE THOUSAND YEARS OF LONGING

4/5

Idris In A Bottle. 

108 Mins. Starring: Tilda Swinton & Idris Elba. Director: George Miller. 

If you had a genie in the bottle like Christina Aguilera, what would you wish for? Right now, some women would wish to be with Idris Elba. Whilst many men would merely wish to be him. Film fans have even wished on this star being Bond for so long that the lamp is starting to lose its sheen. But at least the shine of your third wish has been taken and granted. Idris Elba is a genie. And no, he's not taking over from Will Smith's live-action 'Aladdin', like his sharp-shooting Bloodsport did Smith's Deadshot in James Gunn's 'The Suicide Squad'. Instead, he's granting what the great Tilda Swinton's heart desires in 'Mad Max: Fury Road' director George Miller's 'Three Thousand Years Of Longing', for one of the most offbeat and outstanding pictures of last year. Now making it big here in Japan after last year's six-minute standing ovation at Cannes. 

Long this 3000. Heimdall and The Ancient One fall in love for your multiverse variant marvel. Whilst we wait to 2024 for 'Furiosa' like another 'Doctor Strange' cameo, it's Miller time for a romantic fantasy drama from the '40,000 Years Of Dreaming' and 'Happy Feet' versatile director. And by George does he have it. Based on the sublime short story 'The Djinn In The Nightingale's Eye' by A.S. Byatt, this 'Longing' will make you believe in love again, no matter how many thousands of years you feel you have lived in this life. In an avalanche of white bathrobes more pure than the mountains between him and Kate Winslet, Idris is inspired as the 'Beasts Of No Nation' actor sports ears that look like he played someone else in 'Star Trek: Beyond', or is about to audition for the next Tolkien picture. Miller, proving like Guillermo del Toro's that he can bring even more power to strange new worlds like Hobbiton. 'The Dark Tower' storyteller takes us through 'A Thousand Years' and then some like a Sting 'I Still Love You' after a 'Brand New Day'. 

The 'Long Walk To Freedom' Mandela actor, bringing some serious soccer skill, is about to shoot and scorch screens of size and streaming, taking the tweed coat of his legendary 'Luther' like Vandross (who needs James?) back for 'The Fallen Sun' movie. But it's his charming chemistry with Swinton that's even more compelling than the chapters of his past and previous lives over the centuries. There are many players in all of George Miller's staged worlds here in this theatrical piece. Even the good 'Neighbours' of Anne Charlestown, or Madge Bishop as the amazing Aussie is better known as. But it's all about the Romeo and Julie like DiCaprio and Danes here in this star-crossed affair. And Tilda is terrific as a professor who's about to really learn something new about the life and world she lives in. The scholar hallucinates demons that look like F. Murray Abraham and faints whilst lecturing in Istanbul (prayers up for the beautiful nation). Then frees Elba's engrossing Djinn by washing the lamp and rubbing it with fingers and an electric toothbrush. They really do get to all sorts of places those things. 

Lover of the Queen of Sheba. Rival of King Solomon. Trickster? Over three tales, see and believe for yourself as Idris and Tilda hold you together like each other's hands in their grasp. All the way to modern day London, where this potent and profound parable shows us not just what we are missing and wishing for in love and life, but also what the modern machinations of strange transmissions are doing to us in a static that we can't quite shut out, like the heart and souls we almost let in. Up the white marble steps of a typical and traditional London town house, by the fire. Simply on the sofa, you can see just how quaint and quiet it can all get. Even in the Big Smoke. If only we just let it all breathe like the romance of a fine wine. 

Dearly devoted to Miller's mother Angela and producer Doug Mitchell's relative Rena Mitchell. Looking at the darkness of death through a poetic lens that comes back around like the sun in your eyes of a new rise, this is an epic for our classic cinematic existence. Rubbing shoulders with the love and lifetime likes of 'The Green Knight' director David Lowery's 'A Ghost Story' and even Tilda Swinton's undead love for Tom Hiddleston's vampire in 'Only Lovers Left Alive', this is lightning in the bottle. Twice over when it comes to 'Three Thousand Years Of Longing's' stars wished upon one. This may not be Disney, but when it comes to the moving message of meaning, like Sting and The Police singing out an SOS, we hope that someone gets this, we hope that someone gets this, Idris in a bottle. TIM DAVID HARVEY. 

Further Filming: 'Only Lovers Left Alive', 'A Ghost Story', 'Aladdin'. 

REVIEW: ANT-MAN & THE WASP - QUANTUMANIA

3.5/5

Quantum Leap. 

124 Mins. Starring: Paul Rudd, Evangeline Lilly, Jonathan Majors, Kathryn Newton, David Dastmalchian, Katy O'Brian, William Jackson Harper, Corey Stoll, Bill Murray, Michelle Pfeiffer & Michael Douglas. Director: Peyton Reed. 

"I didn't do it!" Bart Simpson became as famous as his catapult, skateboard and those shorts that he dared you to eat on 'The Simpsons' for that immortal line he read like those he wrote on the blackboard before school was out. But then one overexposed day, everyone had enough and his 15 minutes of fame were over (yeah right, you tell that to 700 plus episodes and counting. Don't have a cow man). The same could be critically claimed for the comic churning of the Marvel machine. With cape fear giving over to both cinematic Scorsese superhero and multiverse fatigue. Despite the madness that was a real Spider-Man meme, the nostalgia of Michael Keaton's Batman saving 'The Flash' from itself and the epic 'Everything Everywhere All At Once' and its hero Michelle Yeoh about to save the day at the Oscars. Coming up leaps and bounds, the trilogy making 'Quantumania' of the 'Ant-Man and The Wasp' movie is a giant one. Even if the multiverse world it delivers like a Thor realm (and a great God of Thunder gag) is as small as the speck of salt you wash your popcorn hands of. 

Critics and popular consensus want to stamp on this Ant and go splat, man. Like an attack of the killer Rotten Tomatoes score. Yet, despite this not carrying the leaf all the way, it's still more epic than the 'Eternals' (which we love, by the way). And certainly doesn't deserve all the hate like the fun, festival filled 'Doctor Strange' and 'Thor' sequels. Just like the seriously good shows 'She Hulk' and 'Ms. Marvel' especially don't in turn. One minute everyone wants to be woke, the next they sleep on a superhero franchise that makes heroes out of everybody. But we're still chanting 'Wakanda Forever'. 

Complaints, even Sinatra faced a few to be Frank. And just like the Great American songbook, the great comic one is consistent and classic. If you want it your way, then you best head to Burger King. Because this is Baskin-Robbins (whose stock must soar with every movie, even this Winter) and they always find out. Even if we now need a milk carton for Michael Peña's much missed story so far catch up. Not to mention rapper T.I. Although cult favourite David Dastmalchian is back as another slimy character (no plot holes) with the greatest run since Kermit. M.C.U. Employee of the Month, Paul Rudd still wins us over. One of the world's most popular and ever-likeable actors like Keanu Reeves and Brendan Fraser. Two who need their own Marvel movie like cult heroes Jeff Goldblum and Bill Murray (with a classy cameo that feels chopped here after the 'Ghostbusters' legend was lost in some troubling news). Rudd's Scott-Lang has his own book that you can actually buy ('Look Out For The Other Guy') like his 'Anchorman' Ron Burgundy ('Let Me Off At The Top'). And he brings incorruptible courage and breaking heart. Not to mention more variants than a "look at us" viral video that literally turn him into ants. All for the best Marvel cinematic moment since the universes Jake Gyllenhaal's Mysterio made play in Spidey's mind, 'No Way Home'. 

Sting this all you want, but Evangeline Lilly's Wasp character is not lost on us, especially in a new hazard yellow and black, fitting suit. Speaking of which, Kathryn Newton comes in as a replacing Cassie with her own one. A Stinger (uncredited) in the tail, hitting home to the heart of what matters here. Even the originals still buzz. Michael Douglas once famously told us in 'Wall Street' that, "greed was good." And here, after at first being about as presence as those brick phones with cords, his Hank Pym brings a colony to this alien ant farm. But back to Keaton, if he can still play as Batman in all these multiverses than it's time to bring back Michelle Pfeiffer's legendary Catwoman back too. Because her show-stealing Wasp is sharper than any claw. 

She was in this quantum realm for a long time and there she met a bad even bigger than the Shaq lookalike that was Thanos in purple and gold. Jonathan Majors' Kang just makes everything click. After his low-key, 'Loki' definitive debut it's his dynasty now. And this Majors talent looks set to conquer the box-office this month, let alone the year, playing the villain. About to be a knockout in 'Creed III' as both Ant-Man and the Apollo kid and 'Rocky' protégé face their most formidable foe yet. But between Katy O'Brian's fearless freedom fighter ('The Mandalorian' star recast after 'Agents Of S.H.I.E.L.D') and the 'Spy x Family' like hilarious mind of 'The Good Place's' William Jackson Harper, if you want more villainy how about donning a yellow jacket? Yeah, you saw the giant Easter egg helmet in 'Loki'. Corey Stoll is back as M.O.D.O.K. of all killing machines. Now, the Hulu of Patton Oswalt may be our giant head and tiny baby legs, but Stoll is stellar like the gold masked meccanoid adaptation. But when the helmet hilariously lifts for that big reveal, we can't tell if the jokes on us, or if Marvel really need to pay their digital effects team for overtime.

All in all, 'Ant-Man and The Wasp' may not be the jam we were hoping to start Phase Five with a boom, but 'Quantumania' is no spoilt picnic either. Sure this Peyton Reed powerhouse looking to pack a wallop may leave you wondering what Edgar Wright if. But fans have been thinking that since the first fun film and fondly silly sequel. Thanks to Kang and what's to come, this sequel remains super for your quantum of solace. But it's time to look out for the little guy again. Down the crawling yellow brick road like Elton, we want to get antsy as much as we thank the arachnid. TIM DAVID HARVEY. 

Further Filming: 'Ant-Man', 'Ant-Man & The Wasp', 'Loki - Season 1'.

TV REVIEW: ATLANTA - Season 4

4/5

Georgia On My Mind. 

10 Episodes. Starring: Donald Glover, Brian Tyree Henry, LaKeith Stanfield & Zazie Beetz. Created By: Donald Glover.

You know what they say. You wait years for a new season of 'Atlanta', and then two come along all at once like buses. But then just like that, they're gone. That's it! As going fourth, this is the final series of the FX series and the best thing on television since 'Curb Your Enthusiasm' in a succession of shows. But this is not HBO. Instead, it's the most compelling and subversive on the small-screen for your regular ass TV. Spot the logo for your credits. Because 'Atlanta' is iconic. And after a terrific third season that saw Liam Neeson passing the cancelled bar, an accented Chet Hanks for a death at a funeral, a brilliant baguette beat-down and beautiful bottle episodes. It only gets even more epic for Season 4 in the A. 

Hiro Murai's definitive direction of this peach of a show has set off these ATL stars like T.I. in all sorts of directions. Donald Glover showed us 'This Is America' as Childish Gambino and gave us the greatest soul album of our generation in 'Awaken, My Love'. Zazie Beetz became a 'Deadpool' Domino hero and a western one ('The Harder They Fall') amongst a realm of other roles. LaKeith Stanfield stole the show in 'Judas and the Black Messiah' like he did in 'Get Out'. And 'Bullet Train' and 'Widows' star Brian Tyree Henry has just copped himself an Oscar nomination for the outstanding 'Causeway'. Now that's paper, boy! 

Hard to Earn, here the gloves are off for career performances from the Donald we actually like, even if his 'Homeliest Horse' revenge is as unbridled as they come. Beetz's Van takes us even further into the heart and soul of the series. And Henry's Miles, AKA Paper Boi gives us another outstanding one-shot episode on a farm, ee, I, ee, I, o. Yet it's Stanfield who steals the show in the opening and classic closing episode, spinning around in a toy car like 'Otis' as this show watches the game of thrones it sits upon. From getting into an altercation with a knife-wielding supermarket customer in an electric chair. To spending longer than "thirty min-ooooootes" in a sensory deprivation tank for the best moment of the series and maybe the entire show. 

Offbeat and obliterating to anything else in its path, it's time to get your hawk talons into the brave (still feels like it's) new show that is 'Atlanta', young world. Hey, it's 'The Most Atlanta', like all your exes living in the mall, not Texas like Drake said about George Straight, or the band of the same song name. There's country, cornbread rappers born to die like a Lana Del Rey song. A search for a milk carton family member that will leave you saying, "sheeeeeeeet!" A killer that you should probably tell Soulja Boy about and another mall scene that feels like it's straight out of 'Terminator 2' for your judgement day. All this and you almost got to meet D'Angelo. Now, how did that feel? Like kissing for Jordans? Well, how about Mr. Chocolate instead, for Donald's latest, classic character creation like the iconic time Glover became Michael Jackson without a single, silver glove? This aint Willy Wonka. Or Disney as the real history of Goofy will leave you shook in perhaps the greatest episode that's truly, satirically saying something in the entirety of 'Atlanta's' great Georgian run. 

Let's just say, I looked at Tokyo Disneyland differently last week when I took my girlfriend for her birthday/our first anniversary. But the resort of Earn and Van's trip into the woods with their lovely Lottie may restore your faith in love again. Or straight scare the s### out of you. Maybe it's because it arrived on Disney + just in time for Christmas here in Japan, that our review for the slice of TV we love the most comes a few days after Valentine's. Better late than forgetting a special day (I didn't, don't worry), the fourth and final season of 'Atlanta' came in September, just before the time you'd usually rouse Green Day's Billie Joe Armstrong from his slumber. You already know we anti-binge want to savour everything these days. Or maybe we're just late to the party because we didn't want to leave 'Atlanta'. This otherworldly dark comedy feels like home. And without it, the world feels a little less brighter. This is the America that gives us hope the dream isn't dead. WAKE UP! TIM DAVID HARVEY. 

Further Filming: 'Atlanta (Season 1)', 'Atlanta (Season 2), 'Atlanta (Season 3)' (just watch this show). 

JONATHAN MAJORS Feature - MAJORS MOMENT

He Majors.

By TIM DAVID HARVEY 

"You don't remember me. Do you?" The childhood friend of Adonis Creed tells the son of Apollo and the protégé of Rocky. Leaning on the champ's Rolls-Royce in a raggedy hoodie. Audaciously asking for an autograph with his gym bag on another man's bonnet. Don't remember yourself? Those who saw a major breakthrough with 'The Last Black Man In San Francisco' may not be inclined to agree with your memory banks. The same goes for those Primetime Emmy voters in favour of Atticus Freeman's big-turn on the small screen for HBO's 'Lovecraft Country'. Netflix neither with three big films. Now any critic who called the canvas for this burgeoning star better watch their glass jaws. "You mad", bro like the meme, or the jacked one of this actor with the caption, "The Avengers are in trouble". He's coming for "evvverything!"

"I can get you home", this same man promises 'Ant-Man' Scott Lang in the 'Quantumania' that is his realm. "If you help me." There's the catch. And here's the hook. You remember this guy, don't you? He Who Remains and turned the season finale of Season One of 'Loki' on its horned head when the God of Mischief already had so many tricks up his sleeve. "This place. It isn't what you think!" It's his world now, even if it begins in a universe so grand, but in sense of scale, one that could be brushed like dirt off your shoulder in the real world. But He Who pays no attention to that like the critics. Sure Scott's an Avenger, but Kang is a Conqueror. Needling the ant like insects at a picnic, teasing him, asking if he's killed him before. Taunting him like, "you thought you could win" as he Bane brutes Lang's iconic helmet with his foot. This is a big bad that could even make you forget about Thanos in a click. It's his dynasty now. 

Playing the villain with franchise game changing stakes in not one, but two big blockbusters coming out in the next few weeks, this isn't just merely Jonathan Majors' month. It's his scene stealing year. First he will conquer as Kang, all whilst keeping the comic-book look and calling out the absurdity of it all in 'Ant-Man and The Wasp: Quantumania.' Kick-starting his run as the new big baddie of Marvel who won't sit on his ass for his first few appearances ('Loki' behind the desk boss moves aside). And if that wasn't enough, following a terrific first trailer and sensational Superbowl spot, Majors is about to make you forget about 'Rocky' being put in the corner as he gives 'Creed' his biggest challenge yet. Pointing to his poster. Knowing he's got him, saying a recomposed "thank you" after a scornful smirk when the champ plays right into his gloves. Ready or not like a Fugee? Here 'III' comes on the 3rd of the 3rd '23.

You can't hide from one of Hollywood's hottest new talents. Jonathan majors in acting. Whether it's what he crafted in 'Lovecraft' or how he showed 'The Last Black Man In San Francisco' more depth than what lies beneath the Golden Gate. Oceans of talent tide the man from Lompoc, California and the Yale graduate over. Raised in Texas, growing up around people who wore ankle monitors like bracelets, he found a "safe space" in cinema and solace with late, great Heath Ledger's iconic Joker from Christopher Nolan's 'Dark Knight' pack. And now he gets to channel that inspiration into his M.C.U. foe and find the moral core and code to those bad guys who truly believe what they are doing is right. Or at least matters.

Wanting his legacy to inspire others like the legend of Ledger did him, Majors moved into acting and the complexity of good vs. evil on this world stage. Like another late great in 'Black Panther' Chadwick Boseman, Jonathan has made his mark by playing real-life heroes like T'Challa did Jackie Robinson ('42'), James Brown ('Get On Up') and Thurgood Marshall ('Marshall'). He started out in the ABC miniseries 'When We Rise' as real-life gay activist Ken Jones. And after a truly moving scene in one of 2017's best and underrated movies (Scott Cooper's 'Hostiles' starring Christian Bale), he made good on another Western. As real cowboy Nat Love in the all-black Jay-Z produced 'The Harder They Fall', co-starring Idris Elba, Oscar winner Regina King and half the cast of 'Atlanta'. Not to mention Academy nomination robbed Delroy Lindo who played his father in another Netflix movie, Spike Lee's 'Da 5 Bloods', co-starring Boseman. Majors more than held his own alongside this wealth of talent. Truly stirring the strings in an epic moment of embrace, between father and son after a major incident and Hail Mary life save. Checking to see he's still with us. 

"That fear in me. Is in a distant view", Majors' Love told us in 'The Harder' with the real and raw rendition of the soulful spiritual 'Upon My Return'. Breaking the fourth wall and through the barriers into our hearts as he held on to the last note and his unwavering belief for as long as the pain lasted. Transferring it to us. Jonathan Majors' Netflix deal has recently yielded 'Devotion' to another real-life hero in United States Navy Officer Jesse Brown. The first African-American aviator to complete the United States Navy's basic flight training program. To the letter, Jonathan's devotion is signed, sealed and delivered. The actor who grew up on a military base, playing alongside another young maverick in 'Top Gun' sequel star Glen Powell, soared. Fear, back on land. The clouds now his near view. Upon his return, this man in the mirror has yet again given us the deepest acting and aches of inner pain since 'The Fall' and we all rise because of it.

President Barack Obama called 'San Francisco' one of the best films of 2019. The A24 prestige picture garnered Majors an Independent Spirit Award. Jonathan made his bones stealing scenes in movies with Matthew McConaughey ('White Boy Rick') and a boxing brotherhood of Charlie Hunnam and Jack O'Connell (in the Springsteen titled 'Jungleland'). But now the actor of the moment is in his own time. It's no secret like The Avengers 'Wars' to come. And the 'Magazine Dreams' of this pin-up with the Men's Health frame, could give him more than cover or Hollywood headline fame for this big-three. Those are for the big blockbusters. The 'Dreams' of a man from the magazine. More than just the muscle, searching for what lies between the print, could have him enter the Academy of awards for his show stopping stardom. He told you he was coming for everything. 

REVIEW: BABYLON

3.5/5

Once Upon A Time...In La La Land. 

189 Mins. Starring: Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, Li Jun Li, Lukas Haas, Max Minghella, Katherine Waterston, Samara Weaving, Jeff Garlin, Eric Roberts, Ethan Suplee, Flea, Spike Jonze & Tobey Maguire. Director: Damien Chazelle. 

Debauched hearts run fun and fancy-free. The opening of 'Babylon' is a zoo...literally. Like fire-water for elephants. In one hell of a roaring 20s, Gatsby-era party in the Hollywood Hills. Something that makes the caves of that crazy, tribal dance of 'The Matrix' look like one of those house parties where no one shows up. This is more skin akin to something Colin Farrell and Rachel McAdams stumbled upon during the second season of HBO's 'True Detective'. Once upon a time, 'La La Land' director Damien Chazelle was pipped to the Oscars envelope by a marvellous 'Moonlight'. Now mixing that song and dance, with 'First Man' realism, reuniting two '...In Hollywood' stars he gives us the Tinseltown land in all its gaudy excess for 'Babylon'. 

By the gates of God, making it in Hollywood does not give you an eternal key to the city, but rather the receding spotlight of a town owned by producers and journalists all looking to take their cut, whilst the most celebrated faces in the world line up for cocaine and a hit of their demise. The true world powers behind the scenes exiling these characters from their blessing, for all their worth on celluloid. Not dismissing the oppressive, cynicism seems to be Chazelle's poison with contempt. A lovely David Gray song, this is not. Instead, the grey skies and dark clouds for those who say it never rains in Southern California. Maybe Chazelle still feels cut by the wrong envelope as 'La La Land' was originally read as Best Picture and star Ryan Gosling's cheeky smirk. Or maybe Damien is just showing the devils of an industry with lights so bright they could burn you. 

This 'Babylon' still offers you an outstanding, orchestrated look at the true labour of love (and other drugs) that it took to make movies back in the twenties, no green screen. Figure in that with a tacked-on, but terrific tribute to the history of cinema that we see today, and this movie is still a love letter to the industry. Albeit one from a jilted lover. A heartbroken and fading leading man Brad Pitt (not in real life, merely here), looking like the classic Hollywood actor he is and the Hollywoodland one he would have been like friend Clooney, wonders and asks for more. Because, searching for a higher power amongst all that booze and a divorce from a classic cameo, that's what the audience who spared their hard worn nickels and dimes deserve. Doing the heavy lifting, the 'Bullet Train', still runaway megastar has more than a point, despite The Academy missing it with(out) their nomination in post. Even if 'The Artist' is in for a reckoning now the silent era is over, and he is forced to find his voice. 

Talkies are for cheap and in this compelling, classic cinematography, sometimes this movie looks like 'West Side Story' (the original one), other times it plays to that musical's tragic themes. Screen superstar Margot Robbie, about to have her 'Barbie' moment in an already captivating career that keeps reinventing and defining itself, is exactly the focal point 'Babylon' needs in the sheer form of her powerful presence. Forget the cocktail dress. That what gets bums in seats. It's what's under the skin that shows she's the most compelling, multi-talented actress of big budget and indies alike since shades of Scarlett. But much like her fall fellow, Academy avoiding 'Amsterdam' picture with another definitive director (David O. Russell), this hard to earn Hollywood movie is as long and over-wrought as the life and times of the characters on-screen who twist and turn like the hills. Free-falling like Alana Haim backing a big-wheel down them for a slice of 'Licorice Pizza'. 

Diego Calva is the name to remember in this epic ensemble. The 'Narcos: Mexico' star has a Golden Globe nomination for his troubles and between two of the biggest names and faces of La La Land, he stands out and holds his own. Just like hypnotizing new 'Exorcist' and 'Wu Assassins' star Li Jun Li and fantastic 'Fences' and Stephen King 'The Stand' actor Jovan Adepo. Justice for those forgotten in 'La La Land', he refuses to be an afterthought here. Blowing the trumpet of his talent despite a heartbreaking, sickening scene that reminds you of the time Nat King Cole was disgustingly made to apply white make-up before a show. The times we lived in and sadly still do. The shame and the pain. We can't begin to understand just how deep it runs.

Jean Smart's genius gossip journalist looks to take the rags to the riches of integrity ad the dream that is Jean continues her career headlines. Whilst 'Inception', 'Lincoln' and 'The Revenant' character actor Lukas Haas will break your heart in a film filled with familiar faces. Max Minghella and Katherine Waterston show up for small, but significant roles. Samara Weaving plays on that Margot Robbie lookalike angle. And a five o'clock shadowed Jeff Garlin seems to be running with that 'Curb Your Enthusiasm' film-producer joke. Add Spike Jonze as a glorious German director, Eric Roberts fighting a snake and a Flea and this movie is red-hot with stars. Especially with a classic cameo from 'Spider-Man' himself (or at least one of them, but who's pointing?), Tobey Maguire. Getting his yellow teeth into some nefarious dens, with Ethan Suplee, who continues to show he's straight-scary now he's dropped the 'My Name Is Earl' best friend act. 

This is when the film truly loses the plot. But in some ways you're rewarded with something to take home after running with this for a 'Titanic' runtime to its endgame. The way of being waterlogged in an auditorium where the main title-card doesn't hang for at least a good hungover, half hour in. This box-office bomb may not have made much of a sound, but like Pitt's character concerned with cinema churning out the same crap, at least to its credit, 'Babylon' is different. And that's something worth singin' in the rain about, now we're happy in theatres again. What a glorious feeling. TIM DAVID HARVEY. 

Further Filming: 'Once Upon A Time...In Hollywood', 'La La Land', 'Amsterdam'.