'CHAD POWERS' continues to catfish us with Season Two touchdown

The Running Man

By TIM DAVID HARVEY

6 Episodes. Starring: Glen Powell, Perry Mattfeld, Quentin Plair, Wynn Everett, Frankie Rodriguez, Toby Huss & Steve Zahn. Created By: Glen Powell & Michael Waldron. On: Hulu & Disney +.

Being 'Chad Powers', like its John Malkovich poster homage, has leading man of the moment Glen Powell running like 'Forrest Gump' through college football. Chasing down the likes of Tom Cruise and Brad Pitt that the 'Top Gun: Maverick' and 'Twisters' star is Redford and Newman, next in line, gunning for. After the half-dozen first season of, 'Dumb and Dumber Too' coined quarters, the showstopper (from Powell and Michael Waldron), based on an ESPN 'Eli's Places' Omaha Productions skit by NFL legend Eli Manning, took the ball for Hulu away from all the Star Wars and Marvels on Disney Plus. Now, a calendar and season later, we have another six quarters to instantly put in the game. And in the golden goose age of television, with so many shows to stream, you'll be left in tears, this go down easy one is a lay-up. Even if that is the wrong sport. But would Chad be able to tell the difference?

The hick that looks like he's from French Lick, Powers, is back! Which means master of disguise Glen Powell ('Hit Man', 'The Running Man') is getting his 'Mrs. Doubtfire' prosthetic back on. A disappointment for all the 'Anyone But You' fans of the Hollywood heartthrob, giving us his second cult character of the year. His Fox McCloud vocal cameo (his disguises aren't that good, but still, 'How To Make A Killing' could have made a greater one if they employed his talents) in 'The Super Mario Galaxy Movie' is now followed by a new game for the Nintendo Switch 2. Powell is perfect as Powers. Glen is just as much brains as brawn, no bro or boy. He knows what he's doing in this industry, like the Hangman watching his Maverick wingman, Tom Cruise's infamous six-hour instructional video. He brings helpings of humour and heart to this role running for redemption. His on-screen NFL wash-out may be a tarnished and faded star, but the real man, on his ascent, is anything but.

Yet, it's not just him in this disgrace to new face story time. On the aptly named Catfish side, Perry Mattfeld should clear the field, and trophy cabinet, for some Emmy consideration. The blind side of the 'In The Dark' star lights up this second season of a real refreshing show, which is one of the best on the tube, or smartphone. In the year of 'The Odyssey', Frankie Rodriguez (also brilliant, the best friend role everybody needs, even in this season's darker turn) says she has the pout to "launch a thousand ships." And he's not wrong. He knows something about faces, too. Making more than people who pout on selfies for the I.G. (that's how cool college kids say it, right). 'Roswell's' Quentin Plair and 'Agent Carter' star Wynn Everett complete the coaching and chair of this club. But following 'Chad Powers'' rookie of the year debut, this series is a franchise of its own.

The kid from Austin, Texas could even lasso 'Ted Lasso' this season. Especially with the great Steve Zahn as the coach everybody wants. His last call will move more than just the offensive line. Also, another legend in Toby Huss, who still has the best 'Candle In The Wind' scene in 'The Four Seasons' on Netflix, has a monumental moment here. Not to mention one hell of an accented get up that looks like we're home for the holidays with the McConaughey's. Alright, alright (you really want one more?), that's enough of the long horns. If you watch season two this weekend you won't be able to feel your face. Then you'll face the scariest mask you'll see right before Halloween. Some stirring sport scenes, literally running for over all the yards that an airport's runway has to offer (take that, 'Furious 6') and more throws than 'The Longest Yard'. This 90s nostalgic gem will have you talking about glory days as the show's score sounds like it's going to turn into a Springsteen song. But just you wait until this human touch takes off its brilliant disguise for the final frame cliff-hanger. We'll be back after the break because...that's football!

Further Afield: 'The Running Man', 'Hit Man', 'Ted Lasso'. 

'THE ODYSSEY' belongs with the cinematic Gods

Gods and Monsters

By TIM DAVID HARVEY

173 Mins. Starring: Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, Lupita Nyong'o, Samantha Morton, John Leguizamo, Jon Bernthal, Himesh Patel, Elliot Page, Bill Irwin, Benny Safdie, Corey Hawkins, Logan Marshall-Green, Mia Goth, Travis Scott, Zendaya & Charlize Theron. Screenplay: Christopher Nolan. Director: Christopher Nolan. In: Theatres. 

Time waits for Nolan. Chronos is a catalyst and key tenet in Christopher's work. Reverential reference to one of his most underrated gems intended ('Tenet', coming out of the planetary pandemic of 2020). Whether it be the incredible and inspired 'Interstellar'. Or the non-linear 'Dunkirk' complete with a ticking score from compelling composer Hans Zimmer that even harks back to the highlight of Nolan's Batman trilogy, 'The Dark Knight'. The hands of a clock are to Nolan, what coming home is to Matt Damon. Whether it be 'Saving Private Ryan', or 'The Martian'. Damon and Nolan have collaborated on a couple of cinematic gems before. One we can mention (the Oscar winning Best Picture 'Oppenheimer') and another we still won't give the game away for (why are you even looking in these brackets?). This calendar, one of the most marketable actors in Hollywood all-time, and the thinking man's blockbuster director give us the highest-grossing R-rated film of all-time.

Crossing over $500 million in IMAX returns, 'The Odyssey' has even taken over the phenomenon of 'Chiikawa', now it has finally been released here in Japan, on September 11th. Lasering its name on Academy Awards to come, and this is with most IMAX theatres closing for renovations to add their new electric touch. Poor choice of timing (in your favourite Joker voice) as this amazing adaptation is the first feature-film to be filmed exclusively on IMAX cameras. No matter how loud they, or your local theatre, get. Christopher Nolan consulted many a translation of Homer's poem (right now, I'm almost home on one from T.E. Lawrence, the Lawrence of Arabia), to craft his cinematic take on Odysseus' travels and voyage home in the face of Poseidon, Cyclops (a brilliant Bill Irwin), some sirens, a nymph (an undeniable Charlize Theron), and a whole lot of hog served up by a stellar Samantha Morton ('Minority Report') that will have Japanese movie-goers spirited away, like Studio Ghibli.

Damon is dominant here, just like he is with a bow and arrow. All other Hollywood pretenders should take a knee for a re-Bourne star who would have been one of the all-time greats even if he never left Boston ('Good Will Hunting', 'The Departed'). But he's not alone in this cinema with a cast and crew of hundreds. Let alone all the recognizable faces, ashes to dust, that Nolan puts more than the paces through. Literally strapping Ben Affleck's best friend to a ship and lashing ocean waves at him like his name was Hokusai. Haunted by the Gods, like an incredible Zendaya, Damon almost has the show stole by his own son. Played perfectly (almost born to) by your friendly, neighbourhood Spider-Man, Tom Holland. He may not share a scene with his real-life queen, but he does continue the camaraderie with a bold Jon Bernthal, that The Punisher and his Parker did for the only other movie that could web-up Odysseus this Summer, 'Spider-Man: Brand New Day'. Matched only by his counsel with the great, and aged, John Leguizamo. Blindingly, beyond brilliant.

Zendaya wedded Robert Pattinson in 'The Drama' of one of the bravest and most controversial movies of the year. Pattinson (who will reunite with her this fall in the epic conclusion of 'Dune: Part Three' for the only one who could match the size and scope of Nolan in Denis Villeneuve) leads a gang of suitors looking to usurp an M.I.A. Matt, featuring Straight Outta Compton's' Corey Hawkins (AKA Dr. Dre) and a snivelling Pattinson's best impression of the bastard child of James Woods in 'Casino'. That's not all that threatens to upset the house like Logan Marshall-Green, replacing lookalike Cosmo Jarvis ('Shōgun), who had a scheduling conflict. As all these freeloaders want the hand that has been feeding them until they have drunk her dry. Who wouldn't want to get that close to the great Anne Hathaway? The frequent Nolan flyer (from Catwoman to 'Interstellar' travel) who is having a year like no other ('The Devil Wears Prada 2', 'Mother Mary', 'Mother's Instinct' (here in Japan), 'The End Of Oak Street' and 'Verity' to come)? Acting up a storm and owning her moment. Next in line, Mia Goth, watching on.

There are big guns across the board. All before the blazing third act. One I didn't finish before bedtime in the book. In these days of chicken before the egg, I recommend you do the same with Homer (no, not that one). Read some and save some for later. Both in the movies reveal and the prose itself. Despite what those on the internet say, there are inspired turns from '12 Years A Slave' Oscar-winner Lupita Nyong'o and 'Inception' (there we go with time again) star Elliot Page. Director/actor Benny Safdie, looking like The Dark Knight of Ancient Greece, even shows up, despite leaving 'Oppenheimer' without a handshake. But it's 'Yesterday' star Himesh Patel that really makes a mark today. Ditto to the bard of Travis Scott, showing us how 'The Odyssey' has been retold through oral poetry. Scott mixing in with James Blake and the stirring score of 'Sinners' Oscar winner Ludwig Göransson, based on Bronze Age percussion and ancient instrumentation.

'Troy', '300' and anything else that claims it is Sparta better bow down to the new Greek God with kick. These Gods and monsters have even overtaken 'Jurassic World' to become Universal's highest-grossing film. "A time of apparent magic" will really have a hold on you by Zeus's law. In a violated modern-day it really has something to say, too. Beyond being Nolan's best work (alongside 'Oppenheimer', 'Interstellar' and 'The Dark Knight'). If 'Inglorious Basterds', 'Django Unchained' and his forthcoming final film is Quentin Tarantino's rewriting of the past, 'Dunkirk', 'Oppenheimer' and 'The Odyssey' is Christopher Nolan's history trilogy lesson. From the art inspiration taken from Francisco Goya's 'Saturn Devouring His Son', to the movie's message, and the real meaning of the siren's song, hidden in that infamous and iconic Trojan War horse. Just when you thought you wouldn't fall for that one again. Written and directed by Christopher Nolan, centuries later, Homer is done proud. The xenia of host and guest with honour. This 'Odyssey' is outstanding.

Further Filming: 'Oppenheimer', 'Dunkirk', 'Troy'. 

'BACKROOMS' (Everything Must Go Edition) takes you to all sorts of places

Multiverse Of Madness

By TIM DAVID HARVEY

110 Mins. Starring: Chiwetel Ejiofor, Renate Reinsve, Finn Bennett, Lukita Maxwell & Mark Duplass. Screenplay: Will Soodik. Director: Kane Parsons. In: Theatres.

The Kane Parsons project is one of the most innovative and inspired ideas in a horror genre that is really transcending the artform of late. Further rhyme to the reason that all genres of movies and music are incredible in their individual right. Parsons becomes the second multi-talented YouTuber (he's also a composer and visual effects artist) to make it big in Hollywood's horror circuit this calendar, after the compelling Curry Barker's (also a comedian and sketch-comedy artist) outstanding 'Obsession' became, not only the second highest-grossing horror ever (following 'The Sixth Sense'), but also a critical, cautionary tale on the nature of consent. Barker's bold statement was released here in Japan a fortnight ago. This weekend in the Land of the Rising Sun, we finally get to enter the 'Backrooms', one week before we are eventually given 'The Odyssey' of Homer by Christopher Nolan. These rooms now make for A24's highest-grossing film ever...in any genre. In addition, we are also offered the new, post-credit, 16-minute bonus of the 'Everything Must Go Edition', for even more Shyamalan signs.

Just call Parsons and Barker the new Ari Aster and Jordan Peele of horror. The creepypasta of 'The Backrooms' that Kane has been able to give us on 4chan for years. Threads of terrifying imageboards of a fictional location that feels both too real and impossibly immersive to comprehend. These backdoors to alternative realities of empty rooms housing items and ideas from our subconscious. The viral videos that go deeper into your mind and memories than Nolan's 'Inception' will leave you shuddering more than 'The Shining', King or Kubrick's version. Similar to how another YouTuber turned genius horror storyteller, masked Japanese novelist Uketsu (The 'Strange House', 'Pictures' and 'Building'), incorporates diagrams and images into his work. Both giving their own personal passion projects a much more believable, lived-in authenticity. Add some shaky-cam straight out of the legendary 'Blair Witch Project' found footage department to this faded lemon, liminal space aesthetic, and you'll be scared straight.

You'll be even more unnerved and never settled by these 'Backrooms' than you will 'Obsession', checking the corners of your bedroom and keeping your electricity bill as high as Kane and Curry are taking the horror form. With cruelly coaxing corridors longer than a Hall of Fame leading you to red herrings and symbolism of what's lurking around the corner that will have your mind playing more tricks on you than the tropes of the horror trade. It's what you don't see that truly terrifies you. Even when the reveal of what's creeping, crouching and stomping around is absolutely ridiculous...ridiculously scary that is. Absolutely. Kane Parsons now shows us that you don't need night and dark rooms to unsettle someone. Horror can truly terrify as clear as day if done in the right way. Especially when it's drawn out longer than the thread of your very nerve. If, like me, this is your first time opening up these 'Backrooms', then the 'Everything Must Go Edition' will show you what you've really been missing.

Sixteen minutes of technical details for the accuracy of authenticity will really keep you on tenterhooks, whereas most other scary movies just hang people off meat ones. This director's dynamic and dynamite debut is given more realism by the script from 'Homeland' writer (completing a script his late father was writing for the show) Will Soodik ('Borgia', 'Ash vs Evil Dead', 'Westworld'). Not to mention one of the most amazing actors in the game Chiwetel Ejiofor ('12 Years A Slave', 'The Pod Generation', 'Eleanor The Great') finally gets another role of his calibre's deserving. Entering another multiverse of madness after his 'Doctor Strange' character deserved more following the first film's post-credits tease. Here, we get deep into his psyche, the mistakes he's made and the demons that lie deep in the dregs of his drink. Just like the monsters under the bed and the many floorboards that take you deeper into this dream within a dream. Excuse me. This nightmare caged within another nightmare. You'll be thinking of this, and what it all means, to you and me, endlessly.

There's also significant support from 'True Detective: Night Country' standout Finn Bennett on the line, 'Shrinking's' Lukita Maxwell (no violet) and the great Mark Duplass ('Room 104' with brother Jay), bringing even more clarity searching questions to the third-act. But it's Norwegian actress Renate Reinsve that really brings this all home. Highlighting one of this year's best after doing the same for the last two years with 'Sentimental Value' (2025) and 'A Different Man' (2024). Her psychiatrist, following her patient, Ejiofor, into the recesses of his mind, shows us the lengths we go to help people and sometimes just how much we can't. This is what takes this science fiction, psychological horror film from a clever and cool concept to a subtle and significant storytelling one. No wonder it's been backroom produced by everyone from horror master James Wan to 'Deadpool's' Shawn Levy. This web series becomes a web of wonder in 'Spider-Man's' Summer. You'll never listen to Boards of Canada or NASA's 'Greeting in 55 Languages' the same way again. This distorted simulacrum will show us who we really are. Enter if you dare!

Further Filming: 'The Backrooms', 'The Shining', 'Inception'.

Peer into 'THE SIMPSONS' 'YELLOW MIRROR'

Yellow Fever Dream

By TIM DAVID HARVEY

27 Mins. Starring: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Patti Harrison & Demi Moore. Screenplay: Carolyn Omie & Kai Omie. Director: Matthew Faughnan. On: Disney +.

Why do birds, suddenly appear, every time, Homer's hairline is near...the forehead he slapped it off with many a DOH!? What seemingly starts off as another shameless clip show segues into a classic concept from the cartoon. Do you know that Curry Barker's 'Obsession', not only one of the biggest and best films of the year, but also of the horror genre, all-time, was originally conceived and inspired by an episode of 'The Simpsons'' legendary, yearly 'Treehouse Of Horror' episodes by the flashlight? Now, the monkey's paw holds up two more fingers for a special episode of 'The Simpsons' called 'Yellow Mirror' that riffs on Charlie Brooker's legendary 'Black Mirror' anthology series of dark, dystopian, futuristic horrors. All as Bart falls through that iconic chalkboard gag to run some new lines.

This Yellow Submarine like trip through the subconscious is the yellow family's sixth exclusive episode on their Evergreen Terrace like streaming service home of Disney +. Not to mention all those shorts and NFL and Fortnite specials. Aaaaaand the fact that the sitcom series is closing in on its 40th year and season. Take that, 'Family Guy!' The last one being their talented take on 'Ripley's' game for the black and white 'Simpsley'. But after more Christmas specials ('O C'mon All Ye Faithful'), Halloween ones ('The Most Wonderful Time Of The Year'), and even a National Geographic spoof for their new neighbours ('Yellow Planet'), this marvel of a what if has more in common with the what could have been in the 'Extreme Makeover: Homer Edition' and the time travel of 'The Past and the Furious', as 'The Simpsons' take on more shows and families.

Directed by Matthew Faughnan, off a screenplay from the Omie's (Carolyn and Kai), the usual, legendary suspects are back (Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer) for this 27-minute epiDOHde. But in this special, they are also joined by 'The Substance' of Golden Globe winner, and Oscar nominated icon Demi Moore (in a cool cameo) and the 'Together Together' talent of Patti Harrison as an A.I. overlord lauding over our children's development in the latter reflection of this mirror. A clever concept by the tablet (you should see all the things it sticks and applies itself too), although a little late in the game following 'Toy Story 5's' take on the rise of artificial intelligence with 'Past Lives' and 'Tron: Ares' star Greta Lee's Lilypad. But it's still classic, Trump on an escalator, before its time Simpsons, doh.

It's the first cut that's the deepest, mind you, as Homer gets burnt by a lamp just as touching as the ball bouncing Pixar one. There is sweet sentiments in both halves of these spiritual sci-fi's (like a classic 'Futurama', that is also back as we speak, week-by-week), but the first one has much more epic and emotional stakes. Not to mention, a legendary parody on show creator Matt Groening. In 'The Way We Weren't', Homer hits his head back in high-school in a bathroom stall (remember? Yeah, neither did I, that's what the reruns are for), and the life as he knew it is forever changed. To reveal more would simply spoil the good and meaningful nature of one of the best stories 'The Simpsons' has spun in seasons, treehouses, exclusives, or actual episodes. But there won't be a dry eye on the couch. Going back to that they do best. It's all about love and family, and what that means to you and me. The very reflection of who we are.

Further Filming: 'Simpsley', 'Extreme Makeover: Homer Edition', 'The Past and the Furious'.

RICKY GERVAIS' 'ALLEY CATS' gets all the cream

Top Cat

By TIM DAVID HARVEY

6 Episodes. Starring: Ricky Gervais, Tom Basden, Andrew Brooke, David Earl, Kerry Godliman, Jo Hartley & Diane Morgan. Screenplay: Ricky Gervais. Director: Ricky Gervais. On: Netflix.

Or is that, "top tw@"!?  Because look what the Ricky Gervais show dragged in. An animated black comedy about cats on Netflix. A six-episode mini-series that claws at social commentary, dark sarcasm and an inspired irreverent humour that the actor/writer/director milks for all it's worth. In-between doing exactly the same thing on his stand-up specials for this streaming service as a classic comedian. Around 15-minutes of fame each episode, the Brylcreem and black t-shirts are ditched for a Garfield like character you could tab as the love-kitten of Bagpuss and the Cheshire cat from 'Alice In Wonderland'. This one will have you grinning all the way to the saucer, too.

You'll cry laughing and spill your milk as Ricky brings along the lion's share of his 'After Life' gang (Tom Basden, Andrew Brooke, David Earl, Kerry Godliman, Jo Hartley and Diane Morgan) for the darkest comedy that will also tug at those heartstrings when it's not scratching what remains of its balls in-front of the telly for the title-card. This fat cat and his crew of c##ts (oh, sorry, that's cats, but then again, if you watch this show long enough) take it to Tom, Felix, Sylvester, Tigger, Lion-O, and any other kitty they'll say hello to. They're greeeeat. Even if this is not the animation your parents want you to see, swimming with adults and lapping up all the swear jar coins it knocks off the shelf. Because after all...it's a cat.

Tom Basden is Niles Crane in 'Frasier' perfect as Ponce, a sophisticated Chartreux who would rather go by his actual given name, Rupert, but is bearing the brunt of Ricky's Bengal, with tiger blood, and cheese wiz, in his veins. Just like he did in the 'After Life'. 'Derek' star Kerry Godliman, the on-screen musing apple (or is that fish?) of Gervais' eye, and the unmistakable voice of Diane Morgan also clean their fur up nice, but it's 'Sherlock Holmes' and 'The IT Crowd' actor Andrew Brooke's rough and tumble cat that will claw your eyes out. Looking like a big bouncer in tuxedo black and white. Add the ratty Havana Brown of Kev himself, David Earl, and you're bound to Puke. Especially when he tries to get a bee to sting him. Because bee stings make everything swell up twice their size...everything! But if all that's all a little too much, just wait until a moving moment between Ricky and his on-screen feline mother, played by no other than Sonia from 'EastEnders', Natalie Cassidy.

Purr-fection comes with the great Jo Hartley ('Dead Man's Shoes', 'This Is England', 'Adolescence') who joins the Gervais gang as a 'Puss In Boots' doe-eyed, cute as a button kitten who just wants to find her way home. And yes, this Derek, Shush Creative and Blink Industries classic cartoon is part 'Homeward Bound' too, making its way up and down the estate. TESCO even has a cameo, because every little...oh, never mind. This sweet and sour sitcom, with a sensational soundtrack, gross-out gags and more roasts than a Golden Globes monologue, is exactly the "fat p####" James Corden ordered ("he was in 'Cats', too"). Hunting for mice and searching for strokes from the dear elderly. The catnip scene is a trip, too. Critics may claw and paw, but the 'Fawlty Towers' of 'Monty Python's' very own legendary John Cleese loves it. Just don't mention the reviews. Then it's in the bag!

Further Clawing: 'After Life', 'The Ricky Gervais Show', 'Top Cat'.

'THE END OF OAK STREET' is Jurassic Park in your backyard

Jurassic World

99 Mins. Starring: Anne Hathaway, Ewan McGregor, Maisy Stella & Christian Convery. Screenplay: David Robert Mitchell. Director: David Robert Mitchell. In: Theatres.

By TIM DAVID HARVEY

Ross from 'Friends', and all you other fellow dinosaur obsessed millennials, you're going to love driving to 'The End Of Oak Street'. An 80s set time-warp with 'Stranger Things' going on (you'll love the soundtrack, too). Starring 'The Devil Wears Prada 2' star Anne Hathaway (who is really owning the summer, in almost everything right now), Obi-Wan Ewan McGregor, and rising stars of the future Maisy Stella and Christian Convery, not to mention, Starbuck the dog, in a family that's about to go nuclear. Written and directed by David Robert Mitchell ('It Follows', 'Under The Silver Lake'). It's the surprise hit of the summer, between stories of toys and men as spiders you all know and love, that just springs up on you, with a barely explained plot. But isn't that what we always knew and loved about golden era popcorn blockbusters? Leaving your brain at home, and a much-needed escapism respite, for this writer, to conclude a Monday triple-header, following the heaviness of 'The Drama' and 'Obsession'.

Stephen King loved it (check his Threads). Steven Spielberg will be proud. And J.J. Abrams is producing. Netflix may have something to say, though. This source code is a lot like 'The Last House', starring Wagner Moura and Greta Lee, recently streaming (we'll get to that). But still, it's more 80s and fun-filled like the COVID time era, forgotten but fond 'The Adam Project', starring Ryan Reynolds, Zoe Saldana and Mark Ruffalo, as Deadpool, Gamora and Hulk got into their own mind-bending time travel. You see, these Oak Street residents don't move, but does their house? Because look who just moved in. Guess who's coming to make you dinner. A bunch of prehistoric creatures that are welcomed like 'Jurassic Park', but with more feathers and bird-like accuracy, to this big-screen event you shouldn't wait for on streaming. Scary in the dark? Jeff Goldblum was right. There goes the neighbourhood.

This summer blockbuster season, you'll be getting out your seat and taking off your sunglasses, like the late, great forefather of all this, Sam Neill (rest peacefully, Sir), when you see this. Turning your partner's head to the screen if they're looking at their phone, like Laura Dern, a leaf. Because there's nothing aloof about this. And maybe, like 'The Drama' and the 'Obsession' beforehand, it's not for the faint of heart. Some of the bodies counted for on Oak Street are bloody and brutal, but also, in a blockbuster kind of way, brilliant. This science-fiction survival of the fittest film, from 1982 to the land before time, throws everything at you whilst you throw your popcorn in the air. Jump scares and actually earned suspense are back in the biggest of ways, and you'll be glad you paid to see this in all its grand, gory glory.

But you may, maybe want to leave your kids at home. No matter, how stellar Maisy and Christian Convery are, coming of age. Yet it's Anne Hathaway who owns this, leading with a rifle, like fellow 'Prada' sporter Emily Blunt with a blunderbuss in 'A Quiet Place'. This is also more sobering, richer depths with what Ewan McGregor brings to the table. And we're not just talking about that 80s delivery driver pizza from his side-gig. Mitchell's movie, like many a Spielberg 'War Of The Worlds' inspired tale before, is actually really about the disaster that faces a family in crisis, and the way they roar and rage against the dying of that light. It's thanks to that nature that makes this film, more ludicrous than a 'Fast and Furious' actor (or film), one that you actually take seriously. No matter how much the stakes, or white picket fence home roofs are raised. We're almost at the end of the summertime. Just enjoy 'The End Of Oak Street'. It's roaringly good fun.

Further Filming: 'Jurassic Park', 'Source Code', 'The Last House'.

'THE DRAMA' that we just can't handle

To Have and to Hold.

105 Mins. Starring: Zendaya, Robert Pattinson, Mamoudou Athie & Alana Haim. Screenplay: Kristoffer Borgli. Director: Kristoffer Borgli. In: Theatres.

By TIM DAVID HARVEY

Imagine it's just gone Monday morning and you're about to watch one of the biggest movies of the year, not to mention, the second highest-grossing horror ever, 'Obsession'. In the middle of the day. On your day off. How heavy would you feel afterwards following its necessary viewing and message of consent? Oh, and did I forget to mention, you just watched A24's 'The Drama', that's just come out in Japan after an April American roadshow release, right before? The only thing more brutal than this 'Drama' and 'Obsession' double-feature, back-to-back, bordering on insanity, is making it a big-three. Trying to get some blockbuster, dinosaur eating escapism at 'The End Of Oak Street'. Hey, I'm a film fanatic who writes about movies, who was way behind schedule last week. What do you expect?

Well, I wasn't expecting this and the polarizing plot twist that we simply can't spoil, but you should maybe look up if you're now approaching 'The Drama' with some trepidation. It does feel a little forced and unfair that there is no knowledge of this prior to going in, reviewers instructed not to reveal. As deeply unnerving and unsettling as 'Obsession', this is not for the faint of heart, or those who find these themes triggering. And we're not trying to poorly play on words with a pun here. But maybe you're starting to get it. Kristoffer Borgli ('Sick Of Myself', 'Dream Scenario') gives us one of the most darkest and dangerous dramas of the decade, let alone this compelling calendar. Even if you hate it, you can't help but keep watching...even if this was on Netflix, where you can choose to continue doing so, or not, and not stuck inside a theatre. Isn't this what moviemaking on the brink of actual artwork is supposed to do? Unseat us. Make us think and maybe even act differently. Cinema is supposed to challenge and you know Zendaya is a challenger.

Now she adds another broad brush to her career stroke, with a singular name arguably as famous now, as Beyoncé. For every 'Dune' franchise and 'The Odyssey' is a 'Euphoria' or 'Malcolm & Marie'. Yet she hasn't done anything quite like this...until now. The 'Spider-Man' redefining M.J. knows how to flip between pop and rock, like Jackson and Jordan, and this bold choice with 'The Batman' Robert Pattinson (also in 'Dune' and 'The Odyssey', but so much more in things like 'The Lighthouse' and 'Good Time') is a brilliant, resolute one for the absolute movie megastars. It can't always be the beautiful, but brave, kindness and humility of a Holland Hollywood, no matter how much we love that guy. And he took a darker turn, with Pattinson, too, for Netflix's 'The Devil All The Time', back in 2020.

Before they take the whole nine yards, down the aisle of this dark romantic comedy, Pattinson and Zendaya have entitled wine and dining with two of their best friends. Played perfectly by scene-stealer and Paul Thomas Anderson muse, Alana Haim ('Licorice Pizza', 'One Battle After Another', and so many classic PTA music videos with her sisterhood of 'Women In Music', Haim) and the gentle grace of Mamoudou Athie ('Kinds Of Kindness', 'The Burial', 'Jurassic World: Dominion'). Here, the four, not looking so fantastic, get into a dangerous game of "what's the worst thing you've ever done" (I'm out!). You think you've heard it all and the crux catalyst of this movie and then it gets worse and worse. And I'm sorry, we just can't bring ourselves to say it. But what results, in quite possibly the worst thing you could imagine, especially for a mainstream movie, is a lot of conflicted empathy and an absolute conviction of the fact that real dramas are supposed to bring exactly that to our breaking points.

You can't condone what goes on here. The motives, or the actions after. But in a hurt world looking to heal, this movie tries to find some understanding in the root cause. Because if we don't identify the problem, then we can never solve the issue that is like an epidemic in America (I think you really know what we're getting at now), like depression and suicide in South Korea, and all other wars that are being fought across a world in arms that need to reach out to each other instead. We can barely say any more than what 'The Drama' is trying to tell you, no matter the critical and commercial fallout. That was always the risk. But it actually paid off, in tune to $132.4 million worldwide (off a budget of 28 mill), and sung praises from critics alike. But will this Hollywood couple holding all the throbbing hearts actually make it to the altar, hand-in-hand? Especially with passive-aggression and hypocrisy at the table as invited guests? Well...you'll have to save the date, but also the timely message of something that means more than in sickness and in health. This is no amateur dramatics. It's real-life. Something we should face and consider now, just like those rightfully opposed to this movie. Because if we want to stop the drama, shouldn't we have resolve and peace made between both sides?

Further Filming: 'Die My Love', 'Obsession', 'Malcolm & Marie'.