REVIEW: GUY RITCHIE'S 'THE COVENANT'

4/5

Lone Survivors.

123 Mins. Starring: Jake Gyllenhaal, Dar Salim, Antony Starr, Alexander Ludwig, Sean Sagar, Bobby Schofield, Emily Beecham & Jonny Lee Miller. Director: Guy Ritchie. On: Amazon Prime.

Beyond the call of duty of modern warfare movies like 'Zero Dark Thirty', 'American Sniper' and 'Jarhead' (also starring the great Jake Gyllenhaal), 'Lock, Stock' London gangster films and 'Sherlock Holmes' cinematic series director Guy Ritchie holds 'The Covenant' with that very movie itself. The gentleman's agreement with the 2006 supernatural horror starring The Winter Soldier, Sebastian Stan himself, that he wouldn't steal their name. Therefore, 'Guy Ritchie's The Covenant' (originally translated as 'The Interpreter') out this weekend in the land of the rising sun, available on Amazon Prime, if you're a subscriber in other territories is far from pretentious pondering. The title referring to the sacred bond, duty and commitment to your fellow man, especially in times of war. 'The Covenant' also aligns itself with one of the great Guy's best pictures. The great Brit forming a kinship with his Hollywood lead that goes beyond the big names and tabloid news both have been read all about. Ever since 'Donnie Darko' and 'Brokeback Mountain', Gyllenhaal has shot to the star-studded stratosphere like his sister. But since 'Prisoners', and in films such as the nuanced 'Nightcrawler', Netflix's 'The Guilty' remake and even the mysterious Mysterio in 'Spider-Man: Far From Home', Jake has been no less than a master of portraying rage in all its dark and untapped corners (see 'Southpaw', 'Stronger' and so much more).

Bearded and brilliant, before reuniting with Ritchie once again (for an untitled action flick), and doubling-up with Amazon for the 'Road House' remake with Connor McGregor, Gyllenhaal tugs at his in an incredible scene where two lone survivors lost at war together after a Wahlberg like descent down the perilous, ambushed mountains of Afghanistan, can't put what they've just faced into words. Backs turned and unspoken gestures unseen, this speaks to man's pain and the perplexing one of veterans of war that we'll never know unless we experience the same frontlines. It's a masterful moment from all involved which takes this picture from just another war one (although there is never, "just another war") to a best one. One of the greatest in either big name's filmography. Or the new one of a definitive Dal Salim who makes this picture his own, forming a deeper and compelling covenant with Jake's sergeant. Clever camera work in the vehicular mirror of their first meeting captures it all perfectly. And from blood to sand after, it never lets up until it finds its home. We just wish this one had its place in award season, at least in nomination, as it lays as forgotten as some of the unheard statistics that return (or cruelly don't) from a war that raged since the tower fell and still hasn't finished causing more pain to everyone involved, foreign or domestic. 'Borgen' star Salim paints this picture profoundly in a face that maps even more than his cold-blooded nature to conflict and his nurturing kindness to the brothers he is banded to in arms. 

An artillery of accented action brings a battalion of brilliant but bracing scenes in a film that may even best the beginning of Mark Wahlberg's perfect partnership with Peter Berg (one that gave us the fellow public service responsibility power of 'Deepwater Horizon' and 'Patriots' Day'). Setting off a new one between these two guys. The cast in these barracks is bountiful, too. Amazon's own Homelander Antony Starr is in prime position to be one with this and the other 'Boys' he goes to superhero war with. Whilst actual 'Lone Survivor' and 'The Hunger Games' star Alexander Ludwig offers experienced veteran counsel as Gyllenhaal feels like the guilty again. Nursing beers, being put on hold longer than the last time your tech failed and a view from a perfect home with a loyal and loving ('Hail Ceasar's' Emily Beecham, underused, but undeniable) wife that he can't see for his thousand yard stare back to the place he doesn't belong, but left is bruised soul in. Making their mark, Sean Sagar and Bobby Schofield round out the rest of this cast in conflict, before Jake unleashes a roundhouse like Swayze on the world's most famous UFC fighter. But it's an American accented 'Trainspotting' star Jonny Lee Miller that really impresses as a colonel. Almost as unrecognizable as the time he played Prime Minister John Major perfectly for 'The Crown'. But give that to Salim whose chances of going unheralded after this would be slim to none in a just world. But do we live in that? The real life behind this incredible and inspired story paints a different picture in a time when Hollywood would prefer to gloss over what's actually real. Maybe the real covenant should be between doing and what's right. Make that your bond as you band together with your brothers. Then all might begin to be fair in love, life and the very wars we rage for those same sins. TIM DAVID HARVEY.

Further Filming: 'Lone Survivor', 'Jarhead', 'The Guilty'.

REVIEW: MADAME WEB

3/5

Into The Spider Web.

116 Mins. Starring: Dakota Johnson, Sydney Sweeney, Isabela Merced, Celeste O'Connor, Tahar Rahim, Mike Epps, Emma Roberts & Adam Scott. Director: S.J. Clarkson. In: Theatres. 

Into the Spider "worse", if only 'Madame Web' could really see into the future. Then the clairvoyant, precognitive mutant from Marvel Comics could see all the rotten reviews for her new Sony movie and all the tomatoes thrown by trolls. Not to mention the online rumours that many theatres were reporting of refund requests. Whilst the stars of the said film were being duped into believing that they were entering the M.C.U. like The Joker always intended on 'The Dark Knight'. Wrong movie? You bet! Because across this Spider-verse we are truly 'Far From Home' here with no Garfield, or Maguire. Yet, this 'Madame', with more critical fangs out for it than the venom that 'Morbius' received, feels as early 2000s as 'Bully Maguire' dancing to the soundtrack and the setting of this blockbuster that rewinds right past that pre-Netflix video store. And in a day and age where the third 'Fantastic Four' iteration (or is that four, dear John? I should keep quiet and in my place) since way back then will retro it up in the swinging sixties, there's nothing wrong with a throwback.

If Beyoncé's 'Dangerous In Love' really was about to come out, and Britney Spears' 'Toxic' had everyone dancing on the tables without knowing who it was really about, then 'Web' alongside Jared Leto's 'Morbius' and Tom Hardy's 'Venom' would Voltron form a big-three that would take pride of place next to those fun, early 21st century, 'Spider-Man', 'Fantastic Four' and 'X-Men' movies. But this is another time and tide. The age of "haterade", where even the fun-filled NBA All-Star Weekend is greeted with folded arms and mean tweets, when those paying it all to be in attendance are too busy looking down at their phones to see what's happening above the rim. Entertainment, again, is meant to be enjoyed, but it seems we can't get enough of hating the things we love. Marvel, in particular, right now is facing the tide turning toxic trend of getting it from all corners, and all studios. Even the mighty M.C.U. is getting it in the neck like an 'Old School' Will Ferrell, to keep the references in line and time. Especially when the films are fronted by what the Jordan Peterson crowd would refer to as "females". Please! What was really so bad about the fresh and fun, 'Attorney At Law', She-Hulk going deeper than 'Deadpool' (in more ways than one). And 'The Marvels' wasn't half-bad, either. And I haven't got a balcony ready, "it was all bad" comment primed like some muppets. Critics are calling it, "'Madame Web' is not as bad as you think", they say. "It's worse!" Sure, it's a long way from being a great movie and the franchise this origin story sets up may already be dead in the water, but you can still enjoy it whilst it lasts.

'Fifty Shades Of Gray' star bonds herself to this picture, even if we'll never see 'Madame Web: And She's Back'. But seriously, people quick to ridicule, don't actually see when people are having fun back, just for a laugh. Jokes on them, I guess. 'The Lost Daughter' star knows how to do the heavy lifting when the spider silk strand thin plot requires it. Charging this picture with her paramedic heart paddles. Anyone who believes she's the problem with this picture that belongs in the past like its period will be given the Ellen treatment. You're not getting one over on her. Or dutiful director S.J Clarkson, who makes her big-screen debut after helming everything from episodes of the best show on TV ('Succession'), to Marvel's own street-level Netflix heroes ('The Defenders'). Once upon a time...in new Hollywood, Sydney Sweeney steals the show in the SSU, as the 'Anyone But You' star like a Rolling Stone music video, may not be in the MCU, but should Multiverse jump as a perfect Spider-Woman if there's any justice. Ditto to an inspired Isabela Merced ('Transformers: The Last Knight', 'Sicario: Day Of The Soldado') and 'Selah and the Spades' star Celeste O'Connor forming their own teenage dream big-three of the future we'll sadly never see like Madame. Oh, but no one say's "it's webbin' time", before you believe everything you read online, like when Martin Scorsese called the 'Fast and the Furious' franchise "cinema". Well...it is, but I'm still confused. Does Christopher Nolan actually like it? Don't be so quick to discredit a film which has a fond cameo from comedian Mike Epps and also features 'Napoleon' standout Tahar Rahim as Ezekiel, looking more like Spider-Man 2099 in a nice looking suit. And just you wait until Easter-or the streaming release, it seems-to find out who Emma Roberts and Adam Scott play perfectly. Even then, this franchise knows when to pull it back. If only critics could. Don't get lost in the web. TIM DAVID HARVEY.

Further Filming: 'The Marvels', 'Morbius', 'Venom'.

TV REVIEW: TRUE DETECTIVE - NIGHT COUNTRY

4/5

We Own The Night.

6 Episodes. Starring: Jodie Foster, Kali Reis, Fiona Shaw, Finn Bennett, Isabella Star LeBlanc, John Hawkes & Christopher Eccelston. Showrunner: Issa López. On: Max.

30 days of night like a Josh Hartnett vampire horror. The fictional town of Ennis, in an Alaska Maggie Rogers would not want to sing about, is plunged into darkness with a 'Wind River' like isolation that will chill you to your core. Feeling like 'Fargo', all the way down to the fur on Frances McDormand's hat now passed to Jodie Foster, Issa López's show running fourth season of 'True Detective' (dubbed 'Night Country', giving us a 'Far From Home' memory) might not sit well with anthology creator Nic Pizzolato. But stare through the frozen lake's ice with a flashlight, and executive produced by him, and the originals Matthew McConaughey and Woody Harrelson, you can see it's the most formidable since the first season. With echoes of all the strange and surreal substance snaking through like the scrawls and scribbles that circle around flat highways and smashed tins of beer. And that's with all due respect to the stunted second season with standout performances from Colin Farrell, Rachel McAdams, Taylor Kitsch and Vince Vaughn. Not to mention the big, redemptive third with double Oscar winners Barry Jenkins and Marhershala Ali.

Haunting like the Billie Eilish theme and her voice that shivers throughout, 'Night Country' is a modern masterpiece of television. What else for the "regular a##" TV like 'Chappelle's Show' said of HBO? What a time to be alive and couch potato-ed in front of the tube on a couch. With this, their greatest drama ending as the final series of their best comedy 'Curb Your Enthusiasm' beginning. Making your pretty, pretty dreary January good. Carrying a subtitle for the first time, and this occasion, standing at only six episodes, 'True Detective' season four wonders over eight men who went missing from a research station only to turn up naked in the ice for the most horrific amalgamation of body parts you've seen since 'The Thing'. And with no dog in sight to blame as the Billie bad guy, all frozen fingers point to each other until the frostbite sets in. As no one is innocent in this world of truly beat cops who hand their badges and guns in like a confessional and have more hiding in their desk draw than just a nip of a hip flask to chase their damn good coffee with. This show that takes inspiration from everything from 'Twin Peaks', to the very news we see for real, represents more than just its two strong leads, but a whole community forgotten and pushed to the margins. All until hell freezes over, never to return once it all thaws in bitter neglect and the harsh truth of those that forget.

Don't call this a Jodie Foster comeback. The 'Taxi Driver' and 'Inside Man' legend has still been here for 'Money Monster's and a few hands of 'House Of Cards' directing for years. But with this and the should have been more Oscar nominated 'Nyad' biography on Netflix with Annette Benning as Diane, Foster is on the form of her life. Like when she shot straight on 'The Brave One' vigilante justice before the 'Wick' era, or cropped up on 'Elysium'. With this and the legendary 'Silence Of The Lambs', Jodie cops detective roles like no other. Even Jackie Chan doesn't have this many police stories. And fostering an incredible performance, she also holds the most contentious and compelling, one-two punch partnership since Woody and McConaughey. Bruising boxer Kali Reis knows not to pull a single punch (sometimes literally), and this 'Country' is just as much hers, as it is Jodie's. And guess what? She's about to star in 'Wind River: The Next Chapter'. 'Killing Eve' great Fiona Shaw stirs this series. As does an accented and almost unrecognizable 'Doctor Who' in fellow great Brit, Christopher Eccelston (almost harder to tell than when he was an elf in 'Thor-The Dark World'). But it's veteran actor John Hawkes who continues to show his real, great self, like his billboard moment 'Outside Ebbing, Missouri. Not to mention the kids that are more than alright, like Jodie's character's Foster daughter Isabella Star LeBlanc (no relation, friends). Or a breakout Finn Bennett with easily the most crucial and heartbreaking moment of the season, acted to perfection with no seduction, Mrs. Robinson. As the gritty ice cracks, the cleverly used static of the HBO show refuses to. All for the coldest, boldest series yet. Night. TIM DAVID HARVEY.

Further Filming: 'True Detective', 'Wind River', 'Fargo'.

REVIEW: BEAU IS AFRAID

3.5/5

The Disorder Of The Phoenix.

179 Mins. Starring: Joaquin Phoenix, Nathan Lane, Amy Ryan, Stephen McKinley Henderson, Hayley Squires, Denis Ménochet, Kylie Rogers, Zoe Lister-Jones, Parker Posey, Richard Kind & Patti LuPone. Director: Ari Aster. In: Theatres. 

Be afraid. Be very afraid. New hallmark horror director Ari Aster knows how to scare you s###less (see the classics 'Hereditary' and 'Midsommar' if you dare). Redefining the great genre like Jordan Peele ('Get Out', 'Us'). And now, just like Peele's science fiction horror 'Nope', Aster takes a left turn of sorts with Academy Award-winning great Joaquin Phoenix for 'Beau Is Afraid'. Finally released here in Japan after its divisive one in 2023 (a more controversial-over here at least-'Oppenheimer' finally comes out at the end of March too, like a delayed delivery of 'Licorice Pizza'.), 'Beau' may be afraid of Oscar season, but like the underrated black and white truth of Golden Globe nominated Phoenix's 'C'mon, C'mon', bookended between both 'Joker' movies, this surrealist tragicomedy horror is the deepest dive into one man's mental health falling apart at the seams like his life itself...or so it seems. To say, "what the f###" is going on may be the understatement of the year...and we know it's only February. This arrested development will remind you of when Darren Aronofsky's 'Mother!', with an exclamation, played Russian roulette with his career and relationship with star Jennifer Lawrence. Mommy issues with the two-headed dragon of the great Zoe Lister-Jones and Patti LuPone indeed. 'I'm Thinking Of Ending Things' on Netflix had us thinking the same mothering way, especially when it was released during the social isolation of the 2020 pandemic. 'Beau' bests both. An A24 film if you ever saw one. Making Mariah Carey's 'Always Be My Baby' as scary as Netflix's 'Leave The World Behind' made the 'Friends' theme.

Best, especially when this trial of madness, told in three acts, segues into an animated moment that amazes, similar to 'Things' in Charlie Kaufman's picture of Jessie Buckley. But I'm afraid Beau doesn't quite form a big-three for Ari, alongside the dynamic duo of 'Hereditary' and 'Midsommar' that made Toni Collette and Florence Pugh even bigger than they are. Not hitting the haunted heights of the life exploring and existence affirming 'A Ghost Story' by 'Green Knight' David Lowery, and that's OK. And as crazy as this clusterf### of a mess sometimes is. Remember, 'Best Pictures' come in all shapes and hot dog, sausage finger sizes. What a time to be alive and in love! Besides, just like Jordan, do you think Ari Aster is done at a mere three movies? Nope! When his filmography reaches those of the Carpenters and Kubricks, fans and cinephiles will pick this one apart like all great art, under a microscope like the rest of his gallery. Let's just be glad for a time when we don't do this under the guise of derogatory social media negativity. Aster is a pastor for cinema. You can tell from his Japanese introduction to the trailer of this film, where he urges cinemagoers to see this on the big-screen because he "hates streaming". You may get lost in his art, but at least he's not making the previously clichéd horror genre and big-budget cinema a lost art. Or cause, for that effect. Just like best dramatic actor Joaquin Phoenix, who can bring more with a facial gesture than he can with a down turned thumb. Not that he's unwilling to throw his whole body and soul into a picture for the naked truth. Most actors don't have the balls. Holding every card, Joaquin has it all in spades. 

This contains multitudes...and interludes. As much to unpack as your weekly grocery shop. There's more than flowers in Aster's trademark horror attic, in a moment that will shock you like the final one in the pre-'Dune' and 'Blade Runner' Denis Villeneuve movie where Jake Gyllenhaal met his worst 'Enemy'. Phoenix is phenomenal, even in pyjamas Frasier Crane would be proud of. Or even when his character irritates you like this at times deeply disturbing movie does. But isn't that what true cinematic masterpieces are meant to do...move you? And performance artists, provoke you? But it's not just him. Stealing the show somewhat, are a kindly Nathan Lane and what Amy Ryan is off-screen whispering to Joaquin all that they seem? And how about a standout Kylie Rogers and her K-Pop bedroom as the jealousy of family matters that are a theme in these movies take a deeper and darker turn. Siccing 'Inglourious Basterds' introduction veteran Denis Ménochet on Phoneix. And just wait until you find out who a perfect Parker Posey plays. You'll wonder what tender therapist Stephen McKinley Henderson makes of it all. Let alone Richard Kind's anything but kindly (unlike Hayley Squires in the theatrical forest of plays) lawyer, as this show ends up looking like a Jim Carrey one, like Colin Farrell's Penguin in 'The Batman' did Kind himself. Sure, this just shy of three-hours film will leave you exhausted in more ways than one, but it will also stay with you for much longer than the runtime (the more you pick it apart, the more you'll actually like it). Something which seems hereditary in Ari's work. TIM DAVID HARVEY.

Further Filming: 'Hereditary', 'I'm Thinking Of Ending Things', 'Mother!'.

REVIEW: THE COLOR PURPLE

3.5/5

Purple Reign.

141 Mins. Starring: Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, Gabriella Wilson "H.E.R.", Halle Bailey, Louis Gossett Jr., Phylicia Pearl Mpasi, Ciara, Jon Batiste, Aunjanue Ellis-Taylor & Fantasia Barrino. Director: Blitz Bazawule. In: Theatres.

Colour your world impressed with this. It's been almost 40 years since Steven Spielberg's 1985 (me and my schoolmates born in the same year are very, very aware of this) coming-of-age epic 'The Color Purple', based on the Pulitzer Prize-winning novel of the same name from Alice Walker that came three years before. So all these decades later, it's high-time for a more vibrant remake in tune with the times we see today, still soberingly reflected in this powerful and painful period piece of brutality and beauty. Whilst Spielberg is remaking other Hollywoodland classics, like the 'West Side Story' musical, he's executive producing this one, alongside Broadway's Scott Sanders, the great Quincy Jones again and Oprah Winfrey, who made her acting debut in the '85 classic next to legends like a breakthrough Whoopi Goldberg, Danny Glover, Margaret Avery and the late, great Adolph Caesar. Based on both Walker's book and 'The Color Purple' musical by Brenda Russell, Allee Willis, Stephen Bray and Marsha Norman, this is more of a retake than a remake. As delightful director, Blitz Bazawule ('Black Is King') blitzes us with the bold and the beautiful, to have and to hold, like a dance in a bar by the swamp.

In this empire, Lyon's finest Taraji P. Henson, who rarely showed this talent in the show she stole, shows she has another string to her brilliantly beautiful bow with the notes she hits. And boy does she know how to make an entrance in this epic for the new generation where she is queen. That is when the show is not being stolen here by 'Orange Is The New Black' superstar Danielle Brooks with a hell YES. Especially when it comes to her love with Dr. Dre of 'Straight Outta Compton' himself, Corey Hawkins, continuing his unsung heroism in Hollywood. It's his pops, who is played perfectly however, by Oscar favourite Colman Domingo, despite how despicable his cruel character is playing banjo by the rainy porch. Domingo is dominating again. Showing how different he is in this, the 'Selma', 'Ma Rainey's Black Bottom' and 'If Beale Street Could Talk' amazing actor deserves the Academy Award for Netflix's 'Rustin'. And his callous character still compels you here. As does the 'Roots' of 'A Raisin In The Sun' Louis Gossett Jr., and the perfect Phylicia Pearl Mpasi, introduced to her film debut after becoming a born Broadway star with 'The Lion King'. Singers/actors hit the high notes too. Like Gabriella Wilson AKA, H.E.R., Jon Batiste (whose 'American Symphony' documentary on Netflix is bittersweetly beautiful) and Ciara's critical role that's too sweet to spoil. But in a film that features star turns from Aunjanue Ellis-Tayloy, and 'The Little Mermaid' herself, Halle Bailey, making the first act hers, the best is saved for last. Just like the long slog through the mud and desperation to get to the earned end in the terrific third.

Fantastic. In a word, that's Fantasia Barrino with this formidable performance. The Grammy winner frees herself like a dream girl for her movie making career moment. Aretha Franklin biopic big-hitter Jennifer Hudson has some friendly competition now, with all due respect. A towering, terrific tour de force of great grace under profoundly perplexing pressure. At least give her an Oscar nomination nod like Brooks. Although no poor thing is beating Emma Stone this year. Still, we shouldn't put so much stock in award shows, although the names in the envelope will be remembered for generations to come and IMDB. Great performances of power are exactly that, regardless. To be discovered with immediate effect, or decades later (but, the sooner, the better) by masses of young women and men, previously shunned by their own world's stage, finally inspired to see the, and their own light. That's the wonderful work that is done here, from a brilliant Barrino, turning 'The Color Purple' and its novel and cinematic meets Broadway idea into a fabulous fantasy in amazing amalgamation. And when she sings, it's over. Give her her seat at the table in a fond finale, around one in the garden that blooms with beauty and earned forgiveness after all the forlorn and bad almost lost their souls to the evils of the world. You'll simply shed tears, with no strain or swipe at the eyes, as they just fall down your cheek like this end does into perfect place. But we've already said too much. This American South classic with an Alicia Keys, Usher, Mary J. Blige, Missy Elliott and many, many more, like H.E.R., soundtrack needs to be seen for itself. Just like 'The Color Purple'. You have to notice it. As God is my witness. TIM DAVID HARVEY.

Further Filming: 'The Color Purple (1985)', 'The Butler', 'Rustin'.