REVIEW: BIRD BOX - BARCELONA

 

3.5/5

A Bird In The Hand. 

112 Mins. Starring: Mario Casas, Naila Schuberth, Alejandra Howard, Georgina Campbell & Diego Calva. Directors: Álex Pastor & David Pastor. On: Netflix. 

Out of the box comes another strain of Netflix's bird-flu. 'Bird Box Barcelona' is the Spanish sequel spin-off to the Sandra Bullock 2018 holiday season hit that received mixed reviews from media critics and comedic memes alike. 28 days later like Cillian Murphy for Danny Boyle, 'Bird Box' became the most-watched film on the streaming service in that February like span. Now, years later making that leap, haters will still say this monster hit follows the themes of John Krasinski's 'A Quiet Place' too closely, but let's hush all that. Take off the blindfold and see that Josh Malerman's novel, that 'Bird Box' and 'Barcelona' are based off, came first, chicken. And this sequel of sorts is much like the forthcoming 'A Quiet Place: Day One' prequel starring Lupita Nyong'o in the fact that it's just different. Expanding the cinematic universe of these birds out the box, like Netflix does with all its original content across the globe. From 'Narcos' to 'Money Heist'. We can't wait for 'Squid Game: Scunthorpe'. 

Brothers Álex and David Pastor get their Russo on with a fine film that's a bloody sight more brutal than the first unboxing. Darker too in its biblical themes that mirror how society has got since the real pandemic that came after that has nothing to do with avian flu. It also gives us a moving meditation on grief amongst all the madness that will strike you to the core. Not to mention an amazing set-piece with a bus that will coach even the most dynamic of directors on how to set a scene. You won't see it coming like an early twist that will leave you in knots the moment you truly open your eyes. This post-apocalyptic thriller with horror homage to your final destination has a 'Logan' lonely like feeling of 'The Last Of Us'. Until it takes your hand and walks you to a whole new world in this cinematic universe that is really building towards something now. Searing in how it manipulates the darkest human emotions for the most shock and awful look at the depths of depression and how lost we actually all are committed to cinemas. The suicide is too much to bear and will trigger more than those with personal, or shared experiences. But what lies beyond all that truly says something. 

Barcelona looks as beautiful as Freddie and Queen Montserrat Caballé sang. Even in 'I Am Legend' like New York ruins. But it's a tale of two Joshs in Spanish Hollywood heartthrob actor Mario Casas that will really convince you. The Goya, Gaudí and Feroz Award-winning 'Three Steps Above Heaven' actor looks like a Brolin and Hartnett hybrid. Or more likely Boris the Animal off 'Men In Black III' with those Doc Oc goggles that LeBron James just rocked at the ESPYs (it's just Bronis). More likely to be made iconic here, he leads perfectly in a conflicted character full of more than a few flaws in this wasteland of a kill or be killed world. But will you follow him like his daughter, played perfectly by Alejandra Howard? Naila Schuberth also nails mature acting way beyond her years as another new child star. Yet it's Georgina Campbell ('Murdered By My Boyfriend' and 'Black Mirror's' 'Hang The DJ'), the lone Brit in this Spanish key, that really steals the show. Even from the smartphones being reached for in this social media day and age once we realize we no longer have to focus on the subs like a depleted soccer squad's second-unit. 'Babylon' and 'Narcos: Mexico' Netflix favourite Diego Calva also adds to the star power on hand. With all this though, Sarah Paulson's cameoing eyes looking into 'Bird Box' still remain the most amazing acting in this series. 

Look into the light, all the way to the grand Gondola lift finale, and you can see the Pastor's are practising something with what they preach. Especially in this divided down the middle age where we can justify everything with a simple social media stroke of a trending swipe, just like they used to do with the good book, no matter the evil. There's father's here who think they know best as mother earth is dying...and we aren't just talking about the movie. Religious fanatics and conspiracy theorists are all looked at here under the movie microscope. Especially those who believe more in the power of their own righteousness than what's right for others. It makes for a mad world we don't want to see. No matter how much a Tom Hollander meme forces our eyes open. Albeit one that needs to be seriously looked at right now. As those with a science degree they got whilst sitting on the toilet are stopping worried minds from getting a vaccine. All whilst shaming those wearing a mask just to protect their fellow man. Not only that, but outside of society, 'Bird Box Barcelona' looks at what grief does to us personally. Overwhelming us with trippy visuals and heartbreaking haunting themes you try to shut out like Leonardo DiCaprio in 'Shutter Island'. It's enough to drive a sane man crazy, no matter his cause. 'Bird Box' was the canary in the coal mine. 'Barcelona' is the Sagrada Família in the wild that offers hands together to a world on its knees. It's worth two. You won't be able to look away. TIM DAVID HARVEY. 

Further Filming: 'Bird Box', 'A Quiet Place: Day One', 'The Last Of Us'. 

TV REVIEW: SECRET INVASION - Season 1

4/5

Avengers Of The Body Snatchers.

6 Episodes. Starring: Samuel L. Jackson, Ben Mendelsohn, Kingsley Ben-Adir, Emilia Clarke, Charlayne Woodard, Dermot Mulroney, Martin Freeman, Cobie Smulders, Olivia Colman & Don Cheadle. Created By: Kyle Bradstreet. On: Disney +. 

There's an invasion going on. And it's no secret. Marvel have been dominating our cinematic universe for decades now. But lately, the tide has been turning. It seems cape fear has given way to the sort of hate those 'X-Men' mutants used to get, and they haven't even made their M.C.U. debut...yet (we see you, Hugh). Hopefully the animated '97' can bring it all back. Marvel are getting the 'Fast and Furious' tread treatment. Right now, it's a bad time to be Groot. It all came to a head last summer, when trolls smashed 'She-Hulk: Attorney At Law', even though that was one of the most fun and freshest Marvel shows in recent memory. Even Disney CEO Bob Iger is chiming in. But from the wonderful 'WandaVision', to the marvellous 'Moon Knight', we still see all these streaming shows as a plus. Just like the galaxy of 'Star Wars' ones. As 'Secret Invasion' spies at being Marvel's 'Andor'. But you know what haters will do. Spreading so much it's like an invasion similar to the infection of those who claim the vaccine is bad when it's really saving lives. That does way more harm than good. Especially when those people seem to be more concerned about being right themselves than helping others. This, on the other hand, is merely entertainment. So let's just get over it and enjoy. Even though it's Morissette ironic that a show that's all about not being able to tell what or who is real is being review bombed by those looking through an eye patch of bias, rather than the scope of truth. 

Another irony is this show's theme and opening credits. Haunting with a metaphor of the very distrustful, fake nature of the show, these shuddering, but stunning titles were created by AI in a world afraid of this artificial intelligence (even our all action hero Tom Cruise goes up against it in this summer's biggest blockbuster 'Mission: Impossible-Dead Reckoning Part One'). With writers striking and computers taking everybody's jobs in every industry this is far from the best move, even if it works, especially with Marvel already coming under fire from overworking and underpaying their special-effects team. But real, amazing artists shouldn't be too green with envy. These credits have nothing on theirs. They should just be paid. They deserve the credit. Another one who deserves the credit is the actor that makes a job out of every move, the great Samuel L. Jackson. Still the motherf##### at 74. And after years of leading the Avengers initiative, ever since he appeared in the first 'Iron Man' post-credits tradition, and you knew the assembling was on. Still kicking a## (even breaking someone's arm with one hand behind his own back), like he did in that 'Captain America-The Winter Soldier' 'Terminator' like car chase, street scene. Not to mention reminding us why one of both Spike Lee and Quentin Tarantino's favourites is actually an amazing actor. Nick Fury finally has his own show. And with 'Secret Invasion', the path of the righteous man is furious. 

Fast too, like Diesel. With half a dozen episodes of epic espionage that you should spy hard into if you loved what I still believe is the best Marvel movie (the aforementioned 'The Winter Soldier'). Yeah, critics may call this middling, but there are mesmerizing moments of pure acting that amaze. Whether it's on the train with Skull ally and the always acclaimed Ben Mendelsohn. Or with bad guy and 'Barbie' Ken Kingsley Ben-Adir, acting rings around even the great Jackson in closing and cloning himself in a café,  trying to reap a bigger harvest than Neil Young. When Marvel blew up in the Battle of New York back in 2006, this geeks dream wasn't supposed to be so big. Yet this Skull invasion is what those real comic-book fans have been waiting for and secretly dreading like the damn, dirty 'Planet Of The Apes'. It's straight scary for some who don't know who to trust and just like building on their and Nick's nuanced backstory like the throwback 'Captain Marvel' this is the perfect precursor to Jackson's action in this falls 'The Marvels' and even the nuts and bolts of the series turned Rhodey movie 'Armor Wars'. Because War Machine Don Cheadle is back, but not in armoured black with a powerful presence of influence nest to Dermot Mulroney's (or is that Dylan McDermott?) president. Reminding me with all these multiverses and cast of characters that as much as I love Cheadle's classic character, it would be fun for Terrence Howard to pop up one day too. Don't bet on that madness, but there is a blink, and you'll miss it Easter Egg of a completely different character that could lead to the justice of another variant plot. 

Cobie Smulders, Martin Freeman and many more trailer revealed Marvel favourites cameo in this show that may be led by Jackson's Fury, but is chock-full of Marvel's big black book (such is the nature of 'Jack Ryan' like spy fare). New big names are brought on board skrull island,  like 'Game Of Thrones' superstar Emilia Clarke who truly has her moment and the great Olivia Colman, who is scene-stealing outstanding here with compelling chemistry set with Jackson. Yet in 'Mr. Robot' creator Kyle Bradstreet's narrative, that's got nothing on what Samuel shares with Charlayne Woodard of 'Pose' fame. But we've already said too much about the Obie and Tony award-winning soul of this show. Let's keep the rest a secret. The hump day middle-of-the-week malaise of Wednesdays are wonderful when it comes to Disney + points you can still marvel at. Even if some say one character's exit deserved more justice. They're right. But this is the nature of the spy-thriller, and you just knew that in the raised stakes of this, skrulls would roll. In a weary world in need of a hero this show is still super, that you can trust. TIM DAVID HARVEY. 

Further Filming: 'Captain America-The Winter Soldier', 'Captain Marvel', 'Armor Wars'. 

REVIEW - MISSION: IMPOSSIBLE - DEAD RECKONING (PART ONE)

4/5

Mission Statement. 

163 Mins. Starring: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson, Vanessa Kirby, Esai Morales, Pom Klementieff, Mariella Garriga, Shea Whigham, Greg Tarzan Davis, Cary Elwes & Henry Czerny. Director: Christopher McQuarrie. In: Theatres. 

Seoul. Just by chance catching the South Korean premiere of 'Mission Impossible: Dead Reckoning (Part One)' whilst on a quick trip. Making up for missing Tom Cruise a year before for the 'Top Gun: Maverick' premiere on Yokohama's runway like Ōsanbashi Pier that is literally a stone's throw away (where was the announcement?) from where I live. Although I thought I wouldn't miss anything being in Tokyo that day. And just like the most marketable Matt Damon before him, Cruise is in control of the red carpet. Even with the likes of Simon Pegg, Hayley Atwell, Pom Klementieff and Vanessa Kirby walking after him, as director Christopher McQuarrie takes pictures. Tom devotes his time to everyone, making sure every fan he can gets a picture and autograph request (let's not talk about the fact that after waiting all day at the barrier a group of press and photographers was moved right in front of our side). The favour returned on what was the week of his birthday whilst he was globe-trotting premiers around more postcard locations than the actual film itself. Korean fans gifting him with presents, plaques commemorating his service to cinema and even trains toppling on birthday cakes. Tom Cruise's dedication to big-screen, blockbuster cinema is as die-hard devoted as the ones to his fans. We really were in the presence of one of the greatest Hollywood actors and icons of all-time. Certainly it's best action hero.

Jumping off planes, trains and automobiles. Running in movies since 1981 and still swinging at 60. It's risky business, at any age, but Tom keeps sliding in where others would get caught with their pants down. The 'Interview With A Vampire' was with a real one. As the ageless action star even pays firm tribute to his classics, as well as this franchise. At one point posing as a lawyer for 'A Few Good Men' who can handle the truth. The 'Jerry Maguire' star is certainly making his Mission statement with this seventh seal. One Summer (he owns) after his 'Maverick' movie defied all the sequel odds, 36 years after the original 'Top Gun' took our breath away. Aiming to do the same here with part one of two movies (the other coming the next time you mark your calendar whilst wearing beach shorts) that takes on the fact that cinema is losing the streaming war to television serials (let alone corona). Costing theatres dearly, you picked the right side, as you shift in your seats and focus on this feature.

Not to mention A.I. in this world where computers are taking everyone's jobs like they have been checkout cashier's for years. Hauntingly highlighting the theme of Marvel's latest 'Secret Invasion' ironically with its artificial artistically rendered theme (still terrific though). The all too real world theme in this man's movie after his spectacular science-fiction saga ('Oblivion', 'Edge Of Tomorrow') also grappling with the great Esai Morales' no moral's villain. A man who truly terrified in 'Ozark'. Teaming up with 'Barbenheimer' on the IMAX and Dolby Atmos screens, Cruise still soars with the biggest blockbuster of the year. A roaming Rome car chase that transforms into a zippy bumblebee like Fiat that even crashes the party of what Jason Momoa orchestrated here in 'Fast X'. A chopper like climb and dive off the highest peak that had me unwittingly speaking Japanese for the first time (sagoy) as the trailer debuted a year ago after the leak before 'Maverick' (the only movie here to provoke cheers from a polite and quiet as kept Japanese audience) and a train fight that even whips the great one from 'Indiana Jones and the Dial Of Destiny' into shape. 

Dial M for movie madness for this murder on the orient express from McQ whose been a mainstay since the operatic 'Rogue Nation'. Reloading like Henry Cavill's arms on the formidable 'Fallout' that threw everything at you...even the bathroom sink. McQuarrie keeps going too, just like Cruise, even when he breaks his ankle, all to keep the cameras rolling like popcorn machines. Their love for cinema collected together in a literal cliffhanger conclusion that gives us something we've never seen before on the big-screen, in all its jaw-dropping, edge-of-your-seat, nail-biting redefinition. Carriage by carriage, trailer tense like 'The Lost World'. This is what it must have felt like the first time cinemagoers saw toy trains played with to make movies seem believable before the age of special-effects. Or the golden era of smart 90s blockbusters like the train of thought left from 'The Fugitive'. With less CGI in this practical picture, there's even an amazing airport scene of spy games that picks your pocket and is the most tense and taught trick since Cruise iconically dangled from the ceiling in the first film. Gripping on the side of a plane or Utah cliff and climbing up the Burj Khalifa before abseiling down on it have dead to rights got nothing on this. 

Reckon you've seen it all? Then book now and take flight. As franchise favourites Ving Rhames behind the laptop and Simon Pegg defusing a bomb with the bravest set of balls play with each other for the man in the chair sidekick position. All as Rebecca Ferguson comes in shooting with an eyepatch for a 'Casablanca' cinematic like opening before she draws swords in street fighting scenes on epic European ones as sharp as any set-piece. And master thief Hayley Atwell has Cruise doing that floppy disk trick again. Keying an inspired introduction as she takes this movie into her own hands like her 'Agent Carter' did the shield of Captain Britain in both the animated 'What If' and the real deal of something else we shouldn't spoil if you haven't already seen it. Handcuffed to Cruise in an Italian job of a shoot-out and car chase that totals more scooters than Uber Eats drivers, not to mention chemistry, this coupling fuelled other rumours. But instead of stupid speculation makes us wish we saw Cruise as the rumoured multiverse Iron Man who had Thanos' head in a glass jar. We wish he chose to accept this mission like the timeless "this message will self-destruct in five seconds" theme that stays true to Bruce Geller's (no relation to Ross) original TV show like these movies. 

The crowning Vanessa Kirby is also back as the arms-dealer that continues Vanessa Redgrave's legacy to the max. Not to mention the chewing gum tense Henry Czerny from 'Mission: Impossible' and an exploding fish-tank. Way back when red light, green light meant something different from the not suitable for children play of 'Squid Game'. In a room full of Maverick co-stars and 'Deadpool's' favourite X-Force member (no, not The Vanisher). Between all the masks that still work, and the flashbacks with Mariella Garriga that hint at more, there's a class cast here. Shea Whigham copping another great detective role on the hunt for Hunt like he did in 'Joker', this time with Greg Tarzan Davis (another 'Maverick' code name) by his side. And 80s legend Cary Elwes shopping up like he did on the July 4th season of 'Stranger Things 3'. Yet the real scene-stealing goes to 'Guardians Of The Galaxy's' own Mantis. As Pom Klementieff, a harlequin in Mr. J make-up, is an amazing assassin. Staring down the nose of her humvee with a wicked smile like a great white shark in pursuit of Cruise and our Captain. Across a world of character locations of Saudi Arabia, Abu Dhabi, Rome and Venice to go with this Paris. All this and a checkmated Russian sub with the one Anya-Taylor Joy defeated in 'The Queen's Gambit' (featuring a chess set Easter Egg) after a McQ and Cruise 'Valkyrie' like language chance exposition introduction has you dead to rights. And this is just part one. You're in for even more of a reckoning. TIM DAVID HARVEY. 

Further Filming: 'Top Gun: Maverick', 'Fast X', 'Mission: Impossible'. 

REVIEW: THEY CLONED TYRONE

4/5

Attack Of The Block Of Clones. 

119 Mins. Starring: John Boyega, Teyonah Parris & Jamie Foxx. Director: Juel Taylor. On: Netflix. 

Thank God Jamie Foxx is on the mend. After months of concern, coupled with stupid social media speculation, the actor/singer/comedian took to Instagram this weekend ahead of his executive produced new Netflix movie debuting on the streaming service. Explaining why he's been missing in action these last few months due to an illness that remains a mystery and frankly, his and his family's business and not ours. We just hope he will be OK. Ever funny, but also expressing emotion, Jamie thanked all the fans that had his back these last few months and of course his daughter and family who saved his life. Not to mention the medical team and the grace of God that did so too and kept him fighting. Now after "going through hell", he's on his "way back". He just didn't want us to see him suffering, connected to tubes. He wanted us to watch him crack jokes, sing songs and make movies. What he does best. Like this. One of the stupidest rumours that he refuted with his trademark hilarity, pulling off the 'Mission: Impossible' mask, was that he was a clone? For real?! Well of course that's baloney like a sandwich, but it is the subject of the science-fiction comedy movie he co-stars in with 'Star Wars' and Marvel stars John Boyega and Teyonah Parris. You can see why some people get confused in a day and social media age where some think Steven Spielberg actually hunted, killed and posed for a photo with a triceratops. Following his Netflix deal of 'Project Power' and his golden era good time's sitcom 'Dad Stop Embarrassing Me' comes 'They Cloned Tyrone'. TYRONE PEOPLE! Tyrone. 

The awakening force of Finn himself John Boyega ('The Woman King', 'Detroit', Netflix's very own 'Imperial Dreams') heads this big-three in a madcap movie that feels like Jordan Peele's 'Get Out' meets Boyega's own breakout sci-fi movie 'Attack The Block' from his British streets. Offset by the grain of a signature seventies soul aesthetic that takes you back into time until Bitcoin is dropped like everybody's stock in that investment. With 'Stranger Things' happening in this neighbourhood, even though this type of cult fiction and satirical look at the exploitation of black bodies has been done before, this is still one of the freshest movies from Netflix for your Rotten Tomatoes. Especially when for all the big names (there's a classic cameo here from their Hollywood black book) on the streamer, a lot of their big budgets go splat after the first week. Netflix are cutting down on how many people can use others accounts (hey, some of us have big families), but they already may be losing subscribers before this process. It's content like this however, that will keep people on the 'Continue Watching' tip. Don't sleep. You and yours can chill later. Great action, hilarity and heart and points sharper than the shrapnel from a hollow one. There's not many like this movie.

Attacking his first feature film debut with abandon, all the way down to the amazing artwork and blaxploitation theatrical theme, director Juel Taylor is a true jewel with this crowning achievement. Taylor and Tony Rettenmaier script it all perfectly too. Flipping clichés and tropes both cultural and in the genre itself. Taking cues from everything from 'Napoleon Dynamite' to 'Groundhog Day' with helpings of humour, horror and homage, Taylor was made a movie that stands out from a crowd of clones. There's a government conspiracy going on...and this is one you can believe in. Don't adjust your tin hat. A drug dealer, a sex worker and a pimp walk into an underground lab straight out of Hawkins and the punchline is perfect. With more twists to turn your stomach and enough surprises to give this sleeper of a summer hit much spring in its step, get ready for something different. All in classic elevator moments like Foxx's 'Baby Driver' of gold flexing style. Bringing you right back down to the opposite spectrum Prince sang about with the grounding, groundbreaking themes explore in this tale. Not to mention utterly heartbreaking moments of hurt and pure emotion, even amongst all the comic-relief, reminding us of how much a trap this really can be. 

Great Brit and 'Breaking' and 'Pacific Rim: Uprising' star John Boyega gives us one of his best amongst all the 'Naked Singularity' and 'The Circle' on Netflix. It feels like his career is only just beginning, but he's completed a Star Wars trilogy, AND spoke out and risked it all in protects during a Black Lives Matter march, moving millions. Just like his mentoring co-star Harrison Ford (who also has 'Blade Runner' and 'Indiana Jones' under his whip, not to mention, countless classics other than his Solo project), he refuses to be boxed in to typecast. And even if his character isn't feeling his sel(ves) here, what he does here with his powerful performance speaks volumes in subtle nuance. We've been in awe of the talent of Teyonah Parris since her "unbow your head sister" line in 'Moonlight' director Barry Jenkins' magnificent adaptation of James Baldwin's 'If Beale Street Could Talk'. And after having her superhero breakout moment in 'WandaVision', she's set to star in another big-three with 'The Marvels' this fall. But here in this 'Candyman' like horror, the 'Dear White People' and 'Chi-Raq' star takes a saluting scene-stealing stand. And then there's Foxx, who you can't put in a hole, let alone box too. Jamie is crazy talented. The 'Ray' Oscar-winner and Tarantino 'Django Unchained' star always has been. And now following his Netflix undead 'Day Shift' last year (we can't wait for a stand-up special that could reveal even more than Chris Rock's 'Selective Outrage') he truly slaps as a pimpin' classic character with legendary lines. With the best Tyrone since Biggum, these clone wars could never be duplicated. TIM DAVID HARVEY. 

Further Filming: 'Get Out', 'The Cabin In The Woods', 'Attack The Block'.

REVIEW: TO LESLIE

4/5

Rising Andrea. 

119 Mins. Starring: Andrea Riseborough, Andre Royo, Owen Teague, Stephen Root, James Landry Hebert, Marc Maron & Allison Janney. Director: Michael Morris. In: Theatres. 

It could happen to you like Nicolas Cage and Bridget Fonda. Your numbers could come up. And 'To Leslie', with a remarkable, revelatory performance from Andrea Riseborough, that's exactly what happened. Loosely based on a true story, wrapped up in a Waylon and Willie country song. But what happens when the opposite of Nas' 'Life's A B####' ("and then you die", my favourite empowering anthem) line, "the buck that bought the bottle could have hit the lotto" comes up? That's what this sobering drama of alcohol addiction that hit The Academy like 'Aftersun' exposes, all the way down to the bottom of the bottle. Circling the drain of desperate and dark times, and the manipulated measures that chases this. Nosedived in nuance with no kid gloves in a time of award bait for safe and secure movie making bank, every other movie is in for a rude awakening. Dear Academy. You asked for this Michael Morris movie's hustle. 'Leslie' gave you her heart. 

Just the ticket. Many Hall of Fame Oscar winners had the chestnut that is this Morris directorial debut on their ballot as a 'Best Picture', wanting to give the actress Academy Award to Riseborough. And now after the sun, as the final prestige picture from Oscar season to find the Far East cinemas of Japan, you can see why. It shows in a stellar performance from a serious actor who has already been a star in the making. Riseborough's rise saw the English actress ('Never Let Me Go', 'Brighton Rock', 'Made In Dagenham') cropping up in Hollywood movies alongside the A's (Tom Cruise in 'Oblivion', Michael Keaton in his Oscar winning 'Birdman (Or The Unexpected Virtue Of Ignorance', 'Nocturnal Animals' with Amy Adams and Jake Gyllenhaal). But this...THIS is the prize money. Even if many are claiming shenanigans for the campaigning. Fans and former co-star alike Kate Winslet, Gwyneth Paltrow, Amy Adams, Charlize Theron, Edward Norton and Jennifer Aniston (this takes the 'Cake', like the 'Friends' star's best and underappreciated performance) all co-signed. Many hosting private screenings to display the talent. But I see nothing wrong with that. Especially as not even Cate Blanchett's 'Tar' was going to take everything, everywhere, all at once from sure thing winner Michelle Yeoh. 

The only injustice I see is the slight given to the rest of this cast that in turn makes this movie an ensemble piece. Especially as if someone wins the lottery in a small town, it affects everybody in hands out reach. 'Brothers and Sisters' we must also give credit to director Michael Morris in a first film that turns out to be a classic tome on the dark side of the American dream, from 'Nebraska' to 'Nomadland' that wakes you up in a cold sweat. Your fears illuminated by the Garden Of Eden attracting sleazy neon that hides a snakebite behind all that apple cider. Forget 'The Lost Daughter' of an Olivia Colman classic, this lost mother squandering more than her savings thinks she's made, but the addiction of alcohol is a disease that takes everything right down to the lint in her pockets. The unforgiving terrain of a motel stop, middling America with boarded up shops, homes and towns doesn't help. It only hurts her reputation even more. Sliding a glass across the counter like a folded napkin deal from the devil. 

The bruised and bloodshot soul of Andrea Riseborough's raw and ravaged central character is surely the best thing about this picture in a physical and psychological powerhouse performance. But 'To Leslie' signs and seals dedication to other names, mind you. Even without the envelope. Evoking just what she's lost in a young son who seems decades older than a teenager on the turn to twenty (and that's the point), Owen Teague is in a league of his own. The 'Black Mirror' episodic star maturing before our eyes from the 'It' bully to make 'The Stand' of his career. Familiar faces Andre Royo ('The Wire' and Terrence Howard's right-hand man in 'Empire') and an unrecognizable Stephen Root (a Cohen's, 'King Of The Hill' and 'Dodgeball' favourite) make welcome appearances. Whilst '1883' 'Yellowstone' prequel star James Landry Hebert and chameleonic powerhouse Allison Janney (from 'The West Wing' to 'I Tonya') still looking great, look like what would happen if 'Sons Of Anarchy' met 'Shameless'. Yet I would still risk it all for Allison in a heartbeat. 

The real best actor of this piece aside from Andrea is the 'Glow' of comedian and 'Joker' cameo star beside De Niro, Marc Maron. Also on executive production duty the moment Marc enters this movie in the middle he elevates it all with genuine and incorruptible kindness. Based on his own story chasing the bottle and demons of drink that fractures families away. The podcaster, musician and all-round stand-up guy can do it all. And his performance here is everything. Especially in his charming and compelling, albeit crippling chemistry, for better or worse, with Riseborough's Leslie. We have no idea why he didn't garner a nomination. But now, almost half a year later, we now know why so many actors went to bat for Andrea. 

Her formidable tour de force performance is one of the ages in a definitive drama that's movies like they used to make them before it all became paint by numbers award fodder campaigning of a different kind. Far from a cautionary tale, 'To Leslie' writes to all those suffering any addiction with unflinching realism to go along with the sympathy and solidarity we could all use in a world that looks to hide away from those who need help like a hungover head under a pillow. It's time we really woke up to this idea that instead of another drink, maybe someone just needs another chance. Pull up a chair instead of a stool and listen to Leslie's story. And then she, he, you and me can win in a whole new way that's far much richer than all that glitters in gold or nectar. TIM DAVID HARVEY. 

Further Filming: 'The Lost Daughter', 'Nebraska', 'Nomadland'. 

REVIEW: INDIANA JONES AND THE DIAL OF DESTINY

3.5/5

Indiana Pacer. 

154 Mins. Starring: Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Toby Jones, Boyd Holbrook, Ethann Isidore & Mads Mikkelsen. Director: James Mangold. In: Theatres. 

"Mum, can you sign me up for drama school, please?! I want to be just like Harrison Ford." It's 1993...and I'm about eight years old. Wondering if I could ever make it in Hollywood like Macaulay Culkin. Home alone with these thoughts, slap both of your cheeks (THE ONES ON YOUR FACE), because the reason I wanted to be like Ford, had nothing to do with 'Star Wars'...or 'Indiana Jones' for your Lucasfilm creations by George. It was all to do with 'The Fugitive' (nice Cubs nod to Harrison's home Chicago town here). His remake of the classic TV series that garnered Tommy Lee Jones a 'Best Supporting Actor' Academy Award. A 90s action blockbuster staple they just simply don't make any more. These days Vin Diesel jumps cars off dams. DAMN! With all that being said, 'Indiana Jones' had more than an effect on me. When I was in my 20s and just getting into 'Star Wars' which I now love (criminal, I know. This is not the film writer you are looking for) me and a great friend had designs on being comedy scriptwriters. After 'Anchorman', 'Talladega Nights', 'Semi-Pro' and 'Blades Of Glory' in his comic prime, we wanted to write the next great Will Ferrell comedy. We had an idea for a film called 'Cirque du So Lame' (I know, I know) and we wanted Will to have his way as a ringmaster with a whip he called Harrison. The rub? He has no idea who or what an 'Indiana Jones' is or was. 

Enough of that self-promoting stuff I never managed to get off mess. How about this? The first film, simply titled 'Raiders Of The Lost Ark', 'Indiana Jones and the Temple Of Doom', 'Indiana Jones and the Last Crusade'. A terrific trilogy in movie lore next to 'The Godfather' before it and the 'Lord Of The Rings' that came after it in epic proportions. Created by the man, the myth and the legend that is George Lucas. Directed by the one and only Steven Spielberg. Scored by the iconic John Williams (still, to this day). This was what golden era 80s to 90s popcorn blockbusters were all about. An archaeologist that made Nic Cage's 'National Treasure' look like 'Time Team' (no disrespect to either). The 'Indiana Jones' series gave Harrison Ford not one, but two movie characters that will live forever in infamy. Inspiring everything from Sam Neill's Dr. Alan Grant in 'Jurassic Park', to Chris Pratt's Star-Lord in 'Guardians Of The Galaxy'. Not to mention all 'The Mummy' movies in between. Games, comics, novels, theme park attractions. They all came next like 'Jaws' or the 'Jurassic' era. In 2008, they even brought it right back almost 20 years later with 'Indiana Jones and the Kingdom Of The Crystal Skull'. Which was fun but felt literally alien to the fanbase. Looking to introduce promising actor Shia LaBeouf for some chronicles of a young Indiana Jones...but we all know what happened there. Now, after messing with space, it's time for 'The Dial Of Destiny'. The fifth and final film for Ford to go along with his Solo swan song. 

Dial D for Destiny, I for Indy and HF for HOLY F###, Harrison Ford is back in the fedora at 80. Some critics like the lukewarm reception at Cannes are calling bull whip, but he's cracking. Sure, the events of these movies are getting more and more ridiculous as time goes on. Especially with the epic end here that is actually earned. But it still doesn't try to clear the bar that the cars of the 'Fast and Furious' franchise do. Besides, this is a FORDmidable franchise that has searched for Holy Grails and been chased by boulders that turned and turned into classic Bart bits on 'The Simpsons' (you can imagine who the boulder is, why you little). What do you want in this escape from reality? 'Indiana Jones and the One Word Text Back Of Doom'?! Harrison hasn't lost a step. The 'Witness', 'Regarding Henry' and Jack Ryan ('Patriot Games' and 'Clear and Present Danger') legend has still got it like that interviewer told him at Cannes to a classic reaction. The American icon like a Springsteen or Dylan (just a little more gruff) of the movie world is currently ruling the small streaming screens with Apple TV+'s 'Shrinking' and the 'Yellowstone' prequel '1923' with Helen Mirren. Set to return to the big blockbuster screens next year after hew hangs his hat with the 'Brave New World' of Anthony Mackie's 'Captain America' sequel. Replacing the late, great William Hurt as General Thunderbolt Ross. Dear, K.E.V.I.N. Please let him Red Hulk out. 

An outstanding opening atop a train in World War II featuring 'Captain America', 'Jurassic World: Fallen Kingdom' character actor and 'Detectorists' great Toby Jones on fine form brings the nostalgic yarn back in all its thrills and spills. Not to mention a CGI perfect capturing of a young Ford and a maddening Mads Mikkelsen as the perfect foil and for, relishing the villain role like 'Hannibal' does dessert. 'Ford v Ferrari' ('Le Mans 24'), 'The Wolverine' and Johnny Cash director James Mangold on duty, doesn't take his foot off the gas for a second, walking the line. Not letting up like he didn't in his legendary 'Logan' finale with act after act of action. Galloping on horseback down the moon landing parade and protest streets of New York, right down to and through the subway. Finally feeling like the cowboy Indiana always inspired. Rip-roaring rickshaws continue the chase across the world before planes join those trains and automobiles, crossing paths and tides stranger than 'Cowboys and Aliens' (but we promise there's no little green men this time out). This Disney picture feels like a big blockbuster classic, all the way down to the throwback promotional poster and the iconic Williams theme playing on the big screen. Right there with the 'Star Wars' one, if not better. Yeah, I said it. 

"Are you Short Round?" Ford asked a familiar face earlier last year. "Okey-dokey, Dr. Jones!" Yes he was. Ke Huy Quan reuniting with Harrison lovingly last year before he and Michelle Yeoh took the world and Oscars by storm with The Daniels' 'Everything Everywhere All At Once'. It's just a shame the Oscar winner didn't meet the 'Witness' nominated actor (time for his honorary one) again earlier. Because don't hold out for an onscreen surprise reunion here that would have worked magic. Young, promising actor Ethann Isidore more than makes up for the kid sidekick role that Huan, at 51, can no longer do anyway though. Even if it had been nice for him to turn up as an old friend like Antonio Banderas, or the legendary reunion like John Rhys-Davies giving them hell with Indy. But before you put your hat over someone's face and punch them. This film with a class cast, like the 'Logan' goon of Boyd Holbrook being a heavyweight favourite of Mangold, almost has the show stole by 'Fleabag' and Solo star Phoebe Waller-Bridge as Jones' God-daughter. Yet, from a whip smart call-back to how effective that lasso of truth is by the gun, to a touching tribute in an emotional end, that Ford plays perfectly, you know Indiana Jones was Harrison's destiny. What a joy to dial it back one more time for a real last crusade. TIM DAVID HARVEY. 

Further Filming: 'Raiders Of The Lost Ark', 'Indiana Jones and the Temple Of Doom', 'Indiana Jones and the Kingdom Of The Crystal Skull'.