So, what does that tell us? That the only truly reliable narrator is life itself. But life itself is also a completely unreliable narrator because it is constantly misdirecting and misleading us and taking us on this journey where it is literally impossible to predict where it’s gonna go next. Occasionally I come across such a film that knows how to surprise me. At first, I wondered what it was all about. Usually, I take a wait-and-see approach and see where it’s going. If there’s no improvement in terms of story and it remains quite uninteresting, I’ll give up. Fortunately, this rarely happens. And certainly not in the case of “Life itself“. As the film progressed, it became (at least for me) more fascinating. Before I knew it, I was looking at the credits with astonishment and I thought to myself: “Wow, what the hell was this”. A film that succeeds in making me quiet and paralyzed. That’s quite an achievement. Hate campaign? In retrospect, I was somewhat surprised at the negative comments regarding this film. I do understand there are people who are allergic to tragedy, drama, and sadness in films. But the bursts of tirades being fired at this movie, are rather exaggerated in my opinion. Or is it my anarchist nature that is rebelling? Calling “Life itself” the “Worst movie of the year“, is a bit shortsighted and slightly simplistic. I suppose those who did, only watched the crème de la crème of films that year. I dare to admit that I’ve seen much worse last year. Again it looks like a snowball effect after the appearing of some reviews of prominent film critics. And expressions such as “semi-intellectual”, “philosophical ramblings” and “overly melodramatic” are copied excessively so that it resembles a we-against-them situation. Or is it an acute case of navel-gazing? Or are they all male critics who, just like Dan Fogelman said in an interview, hate films with emotions? Maybe a defense mechanism so nobody would say that their tough torso contains too many female hormones. Oh well. If you focus on the correctness of timelines and the correct layout of the different time sections only, you may lose sight of the larger picture. Holier-than-thou? I am convinced that among those notorious critics, there are some who unknowingly believe in certain things that would fit perfectly into the context of this film. Isn’t it so that people speak of a soul mate who exists somewhere on this planet? That there’s this one special person somewhere who’s a good fit for you? And isn’t the term karma used all the time? Does coincidence exist? Or coincidentally not? And then the pinnacle of mysterious power that millions believe in. The divine power that watches over us and directs our lives. I bet some of those opinion writers have used these terms before? Or that they want to save their soul every week by solemnly entering a church somewhere? Well, not me. Am I too realistic? Too suspicious? Could be. But I believe that a combination of circumstances and destiny can form the basis of a story such as “Life itself“. The first chapter is phenomenal. Without a doubt, the first chapter is the one with the most impact. A chapter full of confusion, psychological distress, and trauma. But also a chapter about eternal love. Finding that one specific person who fits you unconditionally. Will (Oscar Isaac) and Abby (Olivia Wilde) are such a couple. The living proof of the well-known saying about the pot and the lid. Until one day Abby leaves Will, and Will’s life immediately becomes a mess. A ruin that needs to be restored with the help of a psychologist. It’s a chapter in which the storyline wraps itself ingeniously around Will’s past and present. With and without Abby. With and without the will to live. A chapter full of flashbacks. A chapter introduced by Samuel L. Jackson who represents the “unreliable storyteller”. The subject of Abby’s thesis. But at the same time, he plays a character from a script that Abby and Will wanted to write together. “A husband and wife Tarantino”. That’s why Samuel L. Jackson uses his “Pulp Fiction” intonation. And then there are some who claim that his contribution adds little to the story. well, you just have to want to see it, I guess. Two different family trees. The chapter ends shockingly. A blow of a sledgehammer, as it were. And from then on the story begins to spread intercontinental. From the rebellious Dylan (Olivia “Me and Earl and the Dying Girl” Cooke), the end result of the wonderful love between Abby and Will, whose life is dominated by death. To Spain, where the rich olive oil manufacturer Mr. Saccione (Antonio Banderas) tells his life story to one of his workers, Javier Gonzalez (Sergio Peris-Mencheta). And although these two different family trees initially have nothing in common with each other, the two storylines melt together in a bewildering manner. But you have to discover for yourself how it all gets connected. The unreliable narrator. The only flaw I could think of is the predictability at a certain moment. At first, you don’t have a clue what’s going on. Once you’ve passed that point, you can already see where it’s going. If I were a nitpicker, I would use this to criticize “Life itself” harshly. But the inventive story and the sometimes excellent acting of a group of well-known actors make this a side issue. Perhaps it all seems doom and gloom. As if real life only produces sorrow and misery. Where you experience one setback after the other. Everyone has bad periods in their lives and emotionally difficult experiences. But perhaps the message is also that there is always light at the end of the tunnel. I don’t believe in coincidence or destiny. I don’t believe in a heavenly power that determines our lives and sets out the route in our lives. But admit it. The way the story developed here could actually also occur in real life. Unfortunately, sometimes life is indeed an unreliable narrator. My rating 8/10 Links: IMDB

When a musical about circus performers set in the mid 1800-s opens with a song which sounds like it could be straight off of the 2018 charts, you can be fairly confident that you are in for an experience you will remember, for better or worse. You could probably say the same about a trip to the P.T. Barnum museum funnily enough and – like the museum – this movie features more than enough pizzazz to keep eyes glued to the attractions despite possessing something of a grimy underbelly. The Greatest Showman is director Michael Gracey’s feature film debut but it doesn’t feel much like it. Whether this is because he was wise enough to surround himself with experienced people, or whether It’s because he himself is particularly talented is anyone’s guess. But what is without question is that this movie had direction, the quality of which is obvious from every assured arc and sweep of the camera. Mechanically and stylistically almost everything here is on point. The songs are catchy as all hell, the choreography is always solid; occasionally wonderful, the costume design feels incredibly authentic, the editing shows some real flair for scene and location transitions and there are one or two genuinely stunning shots. The only mark against it here is a few uses of CGI which could charitably be described as ‘a little on the cheap side’. If you want a movie that provides songs which will stick in your head accompanied by all the stimulation that lights, colours and engaging camera work can provide then you will get what you’re after here. However - and it’s a pretty big ‘however’ - movies need to tell a story, and most of the narrative elements here are lacking. Chief among which is the fact that no one in this movie who hasn’t also played Wolverine gets to do very much actual acting. And listen, I like a good sized helping of Hugh Jackman in my movies; who doesn’t? He’s like Hollywood’s cool dad. But there are other characters in this movie and other stories waiting to be told, and for the most part they’re barely explored. Zac Efron (who is actually really good with what he is given) is set up in a potentially interesting love triangle with Zendaya, but her current partner at the start of the film (played by Yahya Abdul-Mateen II) is - amazingly - unable to do much character work with the whole one line of dialogue he has. So what you end up with is a Zac Efron / Zendaya love story occasionally interspersed with cutaways of Abdul-Mateen looking unhappy for some reason. Character development, or the lack thereof, is a real issue. There are problematic elements of the story being told that are omitted or changed, presumably to make everything more palatable, although I cannot claim to be an expert on the subject. Barnum was, by all accounts, a bit of an exploitative bastard, so when the film tries to hammer home a poorly-judged message about the value of family and your roots in the final act it comes across as white-washing a fairly questionable character’s actions in service of telling a nice story. And it’s a bit of a shame that in 2018 a movie about weirdos and outsiders didn’t do more to compare the prejudice and judgement these characters faced to the experiences of those deemed 'abnormal' by today's society, especially since it had already bridged that gap with the stylistic choice of using modern music in a period film. However, I don’t want to criticise The Greatest Showman for what it isn’t. What it is, despite a script which keeps the narrative incredibly simple and takes the term ‘character development’ to mean that you’re only supposed to develop literally one character before stopping, is an incredibly fun movie. It doesn’t address the social issues it perhaps should, it doesn’t tell a story of any real substance and it doesn’t give it’s supporting cast enough to do, but when the lights come up and the music starts you might well find yourself forgetting any of that because the presentation is so exceptional. This is a wonderful musical, which fails only in the areas that many other (incredibly popular) musicals also have before it, and viewed as such it has to be considered a success for Gracey and co. Jackman's character at one point states that people come to see his shows for the pleasure of being hoodwinked, and that’s a mentality which would well serve people who view The Greatest Showman. You’re not coming here to see the presentation of an actual mermaid, you just want to be lied to for a bit. Here, it is possible to lose oneself amongst the bright lights and the dazzling musical performances. Escapism of this quality is rare, even if it fails to truly capitalise on it’s potential.

(Release Info U.K. schedule; January 26th, 2018) "Maze Runner: The Death Cure" In "The Maze Runner" Thomas (Dylan O’Brien) woke up as he was being delivered to "The Glade'. He had no memory of who he was or why he’d become a member of a community of young people; among them Minho (Ki Hong Lee), lead maze runner; Newt (Thomas Brodie-Sangster), a good friend and advisor, Gally (Will Poulter), a leader and adversary and Teresa (Kaya Scodelario), the only female glader, with whom Thomas may have a potentially dark history. Together they're trapped, surrounded by 200 foot walls and an ever-changing maze. Bad turns to worse when 'The Gladers' finally escape 'The Maze' only to discover they're in the middle of a desolate wasteland called 'The Scorch'. In "Maze Runner: The Scorch Trials", Thomas and the surviving gladers met new allies while discovering clues about a mysterious group behind all of their tests, an organization known as 'WCKD'. With "Maze Runner: The Death Cure" the motives of 'WCKD' become clearer, Dr. Ava Paige (Patricia Clarkson), 'WCKD’s' executive director is close to what she believes is a cure for the disease known as 'The Flare', an infection that has decimated the world’s population. But the cure comes by sacrificing the few young people left in the world who are apparently immune. In order to free those who've been rounded up as test subjects, including his friend Minho, Thomas must now band together with fellow survivors, old and new, and take the battle to what may be the last remaining city and the final stronghold of 'WCKD'. He must break into the super-secure 'WKCD' headquarters and try to bring down the organization from the inside. Action reaches new heights in this mission-oriented third and final segment of 'The Maze Runner". "The Maze Runner" was the first of a trilogy of stories based on the James Dashner novels. In the original 'Maze Runner' the involuntary inhabitants of the mysterious encampment knows as 'The Glade' were surrounded by an ever-changing maze with 200 foot walls. They're a colony of young men with a singular goal; escape the glade by solving the maze. When Thomas showed up and, shortly after, 'The Glade’s' first girl inhabitant Teresa, everything began to change. The way out led them to the truth; they're members in an immense and cruel test. In "Maze Runner: The Scorch Trials" 'The Gladers', as they're now known, discovered that once out of the maze they're not the only participants forced to endure tests. There were in fact other mazes, other survivors and they were to learn of the organization that had selected them, 'WCKD'. Thomas, who had become the presumptive leader of the group, didn’t trust the message he was hearing that 'WCKD' is good. Breaking free from the compound where they’d been housed after being rescued Thomas led the survivors of the original maze and others he had encountered in the new facility out into 'The Scorch”, a desert wasteland that appeared to be all that was left of the world. Looking for a rumored safe haven, the group became trapped when Teresa, conflicted about 'WCKD' and it's true mission, gave up the hidden location of the surviving assemblage and a 'WCKD' resistance group known as 'The Right Arm'. Having been betrayed by Teresa, and vowing to save Minho, who has been abducted by 'WCKD', Thomas concluded 'The Scorch Trials' with a single declaration to kill Ava Paige. The woman who had become synonymous with the organization enigmatically named 'WCKD' had now become his nemesis. When "Death Cure" opens, it's clear the team have had time to come up with their plan. They're a different group, organized and on the offensive. It’s a plan so audacious it requires that they steal an entire moving train car in their attempt to save Minho. "Maze Runner: The Death Cure", picks up roughly six months after "The Scorch Trials" ended. In the final battle of 'The Scorch' the survivors of 'The Flare', a disease that has devastated the world’s population, have defined their purpose; to find a safe haven away from the influence of 'WCKD'. Uncertain if this last city had even survived, 'The Gladers' knew that somehow gaining entry would be difficult. To then break in to the 'WKCD' headquarters where Minho was being held, that was impossible. In the first movie the challenge was to solve the maze, to break out of 'The Glade'. A big part of the group, led by Gally, wanted no part of that. They looked at 'The Glade' as their home and they were safe. 'In Scorch Trials' we're out of 'The Maze', had a building to live in and were taken care of but there was a price to pay.  In "Death Cure", Thomas wants to break in to the place that caused all of this to save his friend Minho, which he promised he’d do. Most thought it was a crazy plan. The Thomas character is someone that takes that step forward into the unknown when everyone else takes a step back. It’s a film about not leaving a man behind. And that's Thomas’ journey. Newt is skeptical of it, so are some of the other 'Gladers'. You've a big choice to make when you’re going after one man who has been captured, what do you do with all of those other young people who you’re trying to save? How does that balance out? So it’s a conundrum of sorts. As the target of Thomas mission, Dr. Ava Paige sees the 'WCKD' agenda as a very challenging moral dilemma. She's someone who truly cares for the immunes but she has a drive to succeed that's above all else. It’s an almost heartbreaking relationship with Thomas. If there’s someone who can deeply affect and touch Ava, it’s Thomas. She goes on to explain how failure isn't something her character handles easily. And she has that very powerful line to Janson (Aidan Gillen) when she says, 'it’s not about giving up, it’s actually knowing when you’ve lost'. As much as all the characters have maintained the family bond through the first two films, this time with a direct assault on 'WCKD' the strategy has become one of divide and conquer, requiring the group to split into teams to become even stronger. She has a very strong agenda, obviously, and people’s feelings, thoughts, emotion are not a large part of her life. What's important to her is survival. As we moved through the three episodes, through the three installments, in this third one you see a slightly more personal side to Ava. You see how she lives in a way. You see she’s more affected by human contact or human interaction. Ultimately you find out in the end she really thought she's doing the right thing. Janson is an employee if you like, of the 'WCKD' corporation. But a very ambitious employee. He’s almost like a secret policeman or something. The Janson character is initially introduced into the story, or to the kids, if we can call them that, as providing a potential way out or maybe a good guy within this corporate prison environment. But it turns out he wasn’t that. We got to see that through the course of the film. At this stage in the story he's even more driven and ruthless and reckless and ambitious you know, with an eye running the show. Though Ava Paige is behind the ever-repeating message 'WCKD' is good there’s plenty of doubt about that in Brenda’s (Rosa Salazar) mind. She doesn’t believe for a moment that 'WKCD' is the altruistic organization they present themselves to be. They’re trampling on the people in order to make money while at the same time telling people we’re trying to help. They’re harvesting the serum from innocent children. They’re trying to capitalize on a very devastating epidemic. They’re not doing it for us, and they’re not doing it for the good of the people, and they’re not doing it to save lives, they’re doing it so that they can make a coin. In the first film, 'The Gladers' primary goal was to escape. In the second film, they're on the run, staying barely a step ahead of 'WCKD'. Now, as they turn the tables and are on the offensive they find help from an unlikely source; Gally. Thought to have been killed while turning against the others in the last moments before escaping 'The Maze', their old companion and Thomas adversary is on the forefront of the war against 'WKCD'. As many fans of 'The Maze Runner' novels know, Gally makes his surprise return in the third book. Gally was the one who, when back in the maze, never wanted to rock the boat. Now, he’s back and he’s a soldier leading the war against 'WCKD'. The others, especially Thomas, don’t trust him but now Gally wants to defeat 'WCKD', he wants to bring them down. As 'The Gladers' pursue their mission to rescue Minho, they also have a chance to save many of the other immune children captured by 'WCKD' and to be used as test subjects. The tests 'WKCD' is conducting are their attempt to see if the immunes might have what's needed to make a serum to cure 'The Flare'. The first film, with 'The Maze', was all cement and decay. The second story was the sand and rust of 'The Scorch' and this film, "The Death Cure", is a world of glass and steel. They each have their own tone and color palate. But it’s the world of steel and glass, a world that 'The Gladers' are not even certain exists that will become the target as they take the battle to 'WCKD'. The battle against 'WKCD' actually started at the end of 'Scorch Trials'. In the third book there’s this whole idea of a resistance, a group opposed to 'WCKD'. Having the warring factions show up at the end of the second movie is a slight deviation from the book. There are things that aren’t exactly like the book but they’re inspired by the books. The fans of the books are very loyal to the stories and very protective of them but some things just work better in a cinematic universe. The whole movie’s really a rescue mission and it’s a special sequence in this exciting trilogy. "Scorch Trials" started at the exact moment that the first film ended. With this film, it been about six months and you can see that these guys have been busy. They’ve taken that time to get organized, to come up with a plane and to go save Minho. You’re in a place where people still band together and they rise up. Where people have an interest in what’s going on around them and they say it and they vocalize it and they fight. People here, they will fight, they will rise up. Having rescued a train car full of young people, all immune to 'The Flare', headed for the test labs of 'WCKD', the ultimate goal is get everyone to the safe haven. Once again, it's a place that no one was sure really existed.   The locations are absolutely stunning and unique and you’re getting a little bit of a throwback to 'The Maze', 'The Grievers’ might make an appearance you get sort of everything. It’s a culmination of all three books and "The Death Cure" really brings it all together. It’s an amazing adventure. The design is fantastic. It’s very easy to act on those sets, you know. It’s not like, oh here’s a white wall and over there it just stops and there’s a bunch of people standing around. It really feels like a world that you can inhabit, like the real thing, because it’s all there. You know you can walk down that corridor and there’s another corridor and you can walk into that corridor and there’s a lab and then it brings you back to the other corridor. It’s quite easy to feel it. It’s not only giant but it’s also very specific in that it reflects a modern day dystopian western.

(Release Info London schedule; November 8th, 2019, Vue Cinemas, 3 Cranbourn St, Leicester Square, London WC2H 7AL, UK, 20:15 pm) https://www.myvue.com/film/midway "Midway" The story of 'The Battle Of Midway', told through the experiences of the 'WWII' leaders and sailors who fought it. The film starts from 'The Japanese' perspective. It introduces you to a world of culture, honor, and respect. We've an industrial tone for the scenes with 'The American' characters, and then this old world, a more traditional view that you can see in the richness of the colors of 'The Japanese' ships. They've a lot of wood components. Even on the bridge they've real cabinetry. It makes for a lot of brass and mahogany, and warmth, right down to the white gloves worn by the officers. It’s about the beauty of their ships. The Americans didn’t think about their ships as being beautiful, that way. It begins in December 1941 with 'Pearl Harbor' and ends in June with 'The Battle Of Midway'. It's the most dramatic six months in the history of warfare. "Midway" envisions a fresh look at this pivotal battle told for a new generation, with characters who share powerful bonds. The film follows three story lines, depicting three interwoven perspectives on the battle. “One is the pilots aboard the aircraft carrier 'USS Enterprise', mainly Dick Best (Ed Skrein), Clarence Dickinson (Luke Kleintank), and Bruno Gaido (Nick Jonas), who are historical figures. A second storyline follows the critical work of 'Naval Intelligence' officer Edwin Layton (Patrick Wilson); a code breaker, Joseph Rochefort (Brennan Brown); and Admiral Chester W. Nimitz (Woody Harrelson) in 'Pearl Harbor'. The third storyline centers on 'The Japanese' officers, Admiral Isoroku Yamamoto (Etsushi Toyokawa), and Japanese officers Tamon Yamaguchi (Tadanobu Asano), Kaku Tomeo (Nobuya Shimamoto) and Chūichi Nagumo (Jun Kunimura), who are historical characters, as well. Dick Best is the unsung hero of "Midway", a tough-as-nails Jersey guy, and a 'Navy' flyboy working his way up the chain of command as 'WWII' unfolds. A natural leader despite a tendency to get short with guys who aren’t as daring as he's, Best is a risk-taker whose flying skills are first rate; he's the one to fly with if you want to come back. Best is a true American hero whose exemplary performance, both leading his men and courageously flying his plane during 'The Midway' battle, resulted directly in turning the tide of war. There’s a real emotional journey for Best. You see several versions of Best throughout the story. First, there’s the cocky guy who turns off his plane’s engine to prove to himself he knows how to land without it. After 'Pearl Harbor', you see the relentless Best, who’s on a one-man mission to win the war. During the war, Best loses some pilot friends, which begins a dark night of the soul for Best, and we see him at his absolute lowest. Best only opens up to two people: his wife, Ann (Mandy Moore), daughter Barbara (Sarah Bublavy), and his closest friend, Clarence Dickinson. They help him overcome his losses and we ultimately see a Best with all of his old qualities and emotional literacy and intelligence. He's a true leader of his men. Dick Best has been overlooked, in a way. He's a humble guy, and Midway is his last battle because of an injury sustained while flying. In this story, Best stands for all those unsung heroes who fought for our freedom. What happened at 'The Battle Of Midway' changed the world, but this story is also rooted in a man whose strength and lifeline is his family. Edwin Layton is a 'Lieutenant Commander' in 'The U.S. Navy', whose job is interpreting intelligence information for military strategy. Layton works closely with Admiral Nimitz and a group of brilliant decoders, and soon discovers that 'The Japanese' are planning an offensive on 'Midway Island'. Though Admiral Nimitz, who commands 'Allied Air, Land And Sea Forces' during 'WWII', has received contradictory intel from 'The White House', Layton is willing to bet his life, and the lives of countless sailors and aviators that his Midway intelligence is correct. A man who takes his work to heart, Layton spends many long days and sleepless nights in the service of his country. Edwin Layton is an extremely accomplished intelligence officer in 'The United States Navy' who happened to have served in Japan, and is fluent in 'The Japanese' language. During 'Pearl Harbor', he's the lead intelligence officer assigned to the commander. He describes the weight that fell upon his shoulders after that intelligence failure and how he feels this obligation to try to make up for what has happened. Like many who work in 'Intelligence', he's very analytical. When you’re talking about 'Military Intelligence' in the 1930s, and eventually the ‘40s, they're many people who didn’t quite understand it because it's all so new. If you work in 'Intelligence', you're different from the average soldier or seaman. He knows exactly what he's saying, when he converses with Admiral Yamamoto, as he does early in the film. There’s not only a strength but also a globalist point of view when you've someone that’s stationed there that can speak with Yamamoto in his native tongue, knowing that Yamamoto speaks English. Admiral Chester W. Nimitz is given the position of 'Commander In Chief Pacific Ocean Areas', after 'Pearl Harbor', which a fellow officer calls, the most difficult job in the world. As Nimitz faces the entrance of 'The U.S.' into 'World War II', with fronts in Europe and 'The Pacific', he enlists the help of intelligence officer Edwin Layton to provide him with information so he can throw a punch to 'The Japanese' to let them know what it feels like to be hit. Nimitz winds up working closely with Layton, and despite pushback from 'The White House', Nimitz takes a chance on Layton’s intel regarding 'Midway Island', a seminal battle that changed the course of 'World War II'. Nimitz is an amazing figure in military history. He's a man who, at the beginning of 'The Second World War', is coming to a natural end of his career. But after 'Pearl Harbor', 'The Navy' realized they needed someone who could go out there, reinvigorate everyone and make them realize we can win this war. Nimitz is also an incredibly tough man. Notoriously, once when he's giving a tour of a submarine he gestured and a piece of equipment caught his thumb and tore part of it off. He insistes on finishing the tour before seeking medical attention. There’s this iron Texan core to Nimitz that makes him the perfect guy to rebuild a shattered Navy after 'Pearl Harbor'. After 'Pearl Harbour', there's a lot of pressure on 'The United States' to rebuild these ships quickly, and do what they could to become a power. Admiral Nimitz is the right man for the job. He's a relentless, hard-working, and thoughtful guy who makes critical decisions that changed the course the war. Wade McClusky is a courageous and tenacious risk-taker, who's in charge of the torpedo and dive bomber pilots on board 'The USS Enterprise'. McClusky briefs the men on their missions, giving them intel on what to expect from 'The Japanese' forces. In the cockpit, McClusky takes big chances that could either pay off, or land him scrubbing potatoes at Leavenworth. McClusky is an outstanding 'Lieutenant Commander' and a true hero who's fully prepared to go back into battle, despite sustaining an injury, until his commanding officer orders him to sick bay. Through his intelligence, courage, and sheer luck, McClusky makes a vital contribution to the victory at Midway. McClusky is a squadron commander and a gifted pilot. He decides, on a hunch, to turn and follow this Japanese destroyer that ends up heading back to the main fleet. If he has simply followed the route he's supposed to fly, the history of 'The Pacific War' would have been very different. McClusky is a little older than the pilots he’s in charge of. He’s been around longer and experienced much more than they've, and he leads by example. What McClusky does in a pivotal moment in 'The Battle Of Midway' makes him one of the heroes of the war. McClusky and his closest friend, Dick Best, find common ground through losing friends and understanding what the other is going through. As much as "Midway" is a film with huge set pieces and big airborne battles, it’s also about a brotherhood and the union of these pilots risking their lives on a daily basis. Courageous, resourceful, respected and beloved by his men, Jimmy Doolittle (Aaron Eckhart) is the leader of an Army bomber squadron. Admiral Halsey (Dennis Quaid) thinks Doolittle may be the best goddamned pilot in the world. Doolittle is planning a mission to attack Japan, which would be a huge psychological blow to the enemy forces, because 'The Japanese' believed their defenses are impregnable. Blown off-course mid-flight, Doolittle winds up bailing over China. Fearing his entire squadron has been lost, he makes his way through the countryside until he’s welcomed by a 'Chinese Major'. Doolittle is a daredevil and like many daredevils, he likes to push all kinds of boundaries. 'The Doolittle' raid is, militarily, not particularly successful. A handful of bombs are dropped but, strategically, it's of massive importance because 'The Japanese' high command has promised both the people and 'The Emperor' that it's impossible to attack Japan. This assault by Doolittle’s 'B-25' bombers proved that they're either incorrect or lying. It's a huge embarrassment that led 'The Japanese' military to decide that 'The United States' carrier fleet has to be neutralized as soon as possible, which led them into 'The Midway Operation'. Also, it's important from a psychological standpoint, both in making America feel like it has finally struck back on some level, and 'The Japanese' people realizing that it's high command is not infallible. Doolittle and his men knew they wouldn’t have the necessary fuel to return to the carrier. There are '72 Doolittle Raiders' and they all agreed to go on the mission, despite the incredible odds against it's success. Some of them ended up in the sea, many of them crashed, and some died. One team ended up in Russia and has to make it's way back. When 'The Chinese Military' finds out who 'The Doolittle' bombers are after they've crashed, and the mission they've just accomplished, they treated them like kings. They shepherded many of them through China, and then eventually back to 'The United States' Ann Best is extremely proud of her husband, and is an equal match for her husband’s brains and fiery personality. She’s also the one with whom he lets down his guard, and shows some vulnerability. Ann joins the other stoic, but worried, Navy wives when their husbands go off on the Midway mission. She’s strong and courageous. They've a young daughter and Ann is determined to keep her family together at a time when many husbands are encouraging their families to move away from the warfront. Ann and Dick are real partners in their relationship. There’s a deep mutual appreciation, and affection for one another. You’re not just seeing the heroics of these men. You’re getting a slice of their home life, with their families and wives, and a better understanding of what they’re fighting for and what’s at stake. Admiral William Halsey commands 'The USS Enterprise', an aircraft carrier stationed in 'Pearl Harbor'. As Halsey deals with the aftermath of 'The Pearl Harbor' attack and the encroachment of 'The Japanese' in 'The Pacific', he’s faced with the challenge of 'The U.S.' forces being outnumbered by Japan. He’s a stalwart leader who’s not afraid to do what’s necessary to get his best men in to do the job that’s required. Although Halsey is ill, he insists on continuing to work, until he’s ordered into the hospital by Nimitz. Halsey is no fan of 'The Army' brass and is known for taking matters into his own hands. He has his own style, and is brash. But his connection with his men makes him a great leader, particularly of so many inexperienced and young men, some of whom are little more than boys. They look at Halsey as a father figure who's going to get them through this. Bruno Gaido, a Naval radioman, is extremely brave, and very confident about it. He catches the attention of Admiral Halsey through an act of astonishing courage on a carrier, prompting Halsey to promote him immediately. During 'The Battle Of Midway', Gaido is forces to bail from his plane and winds up on the deck of a Japanese destroyer. Lieutenant Clarence Dickinson is a courageous, highly skilled dive bomber pilot, who almost died during 'The Pearl Harbor' attack but lives to fight another day. He’s a good friend of Dick Best, with whom he flies in formation. Though Best is frustrated with his own lack of advancement, Dickinson understands what’s holding Best back from being in command; an obsessive pursuit of perfection from himself and everyone around him. A seasoned pilot who doesn't like the odds of the upcoming Midway mission, Dickinson proves to be as fearless, focused, and effective as any hero of 'WWII'. The commander of the fighter plane 'Torpedo Six', Eugene Lindsey (Darren Criss) is Dick Best's superior officer, and he doesn't appreciate Best’s annoying habit of criticizing his pilots for being too slow, and challenging orders mid-operation. But Lindsey is a courageous officer who earns Best's respect by leading his squadron, despite being injured in combat. Lindsey did several tours and is stationed in various places in 'The United States'. He did a post-graduate degree in aeronautical engineering at 'MIT', when he was in his 30s. By the time we meet Lindsey in this film, he has a pretty storied life of being a man of the sea and a pilot. That kind of courage is pretty extraordinary and inspired a lot of these men at this point in the war. They're fueled by this very raw sense of retribution that needed to be gained after something as devastating as 'Pearl Harbor' James Murray’s (Keean Johnson) laconic North Carolina drawl frequently belies the terror he feels flying as Dick Best’s radioman. Murray doesn't have the same damn the torpedoes mentality as Best; he's frequently worn to a frazzle flying with the relentlessly risk-taking pilot. But Murray perseveres to fly with him because he knows that with Best’s skills in the cockpit, he has the greatest chance of making it home. As 'The Battle Of Midway' progresses, Murray's nerves go to pieces, and he asks Best to turn back. Exhausted and demoralized by the thought of going once more into battle, Murray receives an honest pep talk from Best, igniting his own heroism. Murray is Dick Best’s rear gunner and radioman. He’s juggling two jobs at the same time while being shot at by Japanese planes. Murray basically shoots at the enemy pilots and gives Dick Best the information he needs to safely find and destroy oncoming aircraft carriers and get home safely. He’s not into being a daredevil. Murray wants to do exactly what’s in the rulebook and stick to that. Murray’s an introvert and just wants to do his job. He’s not looking to win a medal, he’s just looking to do his time, to fight for this cause but not sacrifice himself. In the end he learns that he actually would die for his country and sees many of his friends perish. He definitely learns not to take it for granted. "Midway" is a true epic and it’s told at a certain level of scope that’s now become common in superhero and science fiction films. The film centers on 'The Battle Of Midway', a clash between 'The American' fleet and 'The Imperial Japanese Navy' which marked a pivotal turning point in 'The Pacific Theatre' during 'WWII'. The film, based on the real-life events of this heroic feat, tells the story of the leaders and sailors who used their instincts, fortitude and bravery to overcome the odds. It’s a real-life story of brotherhood and camaraderie, and the determination and sacrifice of real-life military heroes, to secure an American victory. Having been decimated by 'The Japanese' attack on 'Pearl Harbor' only six months earlier, 'The U.S. Navy' is desperately outmanned and outgunned heading into 'The Battle Of Midway'. 'The U.S.' military held on to one great advantage; it's intelligence operations and collective grit, are strongly underestimated. The film takes audiences deep inside the complex decision, making of 'The United States’ tactical command, and then straps them inside a bomber cockpit to experience the most visceral on-screen telling, of the greatest battle in 'U.S.' warfare history. These men faced down tyranny and fascism with their very own lives, strapped into planes known to be inferior to those of their enemies. "Midway" is the event that transformed the war in 'The Pacific', basically preserving democracy and freedom in 'The U.S.' and 'The Western World'. Because of them we live in a free world today. True life can sometimes be the most powerful storyteller. Young people today don’t always know the stories about those who fought for their freedom. That without the generation who fought in 'WWII', our world would be very different. There's a lot of hardship and a lot of people died for it, but they died for a reason. There's a real fight against fascism going on in the world. Today we sometimes forget about these things, but movies can serve as a vivid monument to them. "Midway" is an homage to all the sailors who lost their lives at Midway, both American and Japanese. The film honors that fight and those who gave so much. The scope of it and the changes that happened over the six-month period between 'Pearl Harbor' and Midway are some of the most compelling events in history. What really moved is the willingness, and the spirit, behind those who suffered from the attack on 'Pearl Harbor'. You can even see allusions of 'Independence Day' in this film. But most of all, it’s about the fight against an idea that's starting to consume the world at the time. Unlike science fiction, however, "Midway" is firmly based in historical facts, which reveal themselves throughout the course of the film. The film discovers this wave of new scholarship, where 'The Japanese' side of the story is finally being told in English. 'The Japanese' in this story are just as brave as 'The Americans', although with far more tragic outcomes. Politicians start wars, but never fight them. It’s the common soldier who ultimately pays the price. It's important to show how the Japanese fought as honorably as 'The Americans' in 'The Battle Of Midway'. That points to the film’s themes of loyalty, brotherhood, sacrifice and bravery, all of which transcend generations. "Midway" will transport audiences back in time. It shows an America that's not a superpower, and which has just come out of 'The Great Depression'. The country initially tries to stay out of a war but 'Pearl Harbor' changed all that. It's a simpler time, but it also is a time where you've to put your life in danger for ideals. This film isn’t just a tribute to the actions of the people who served in 'The Second World War', but also to the people who continue to put their lives on the line defending us. It looks back at a moment where there was a sense of patriotism and national unity, an understanding of our shared common values, why that’s special, and how, when we pull together, we can achieve something remarkable in the face of impossible odds. It’s a lesson for all of us about uniting in spite of our differences.

You’re the girl in the inner room. Alicja is your story. You talked, he wrote it down. I suppose it’s almost impossible to use an exuberant color palette for a film situated in a Slavic country. Every time the story takes place in such a communist or ex-communist country, the screen is filled with depressing colors. The closer one approaches Russia (the motherland of communism) the more gray, grizzled, and duller the images become. The desolation and gloom are splashing off the screen. Everything seems bare, simplistic and simply boring. To camouflage this problem in a film, one must have a fascinating and intriguing story, played by colorful actors. But that’s missing in “Dark crimes“. Even Jim Carrey has an impressive, gray beard. With a little imagination, you look at it as if it’s an old-fashioned black and white movie. Carrey did a great job in this serious movie. “Dark Crimes” is based on an article from the Washington Post about Krystian Bala. A writer who described an unsolved murder in detail in one of his books and was arrested based on this. Perhaps an interesting item to make a film about. But here the pace is similar to writing a book. Painfully slow. And Jim Carrey couldn’t remedy that by himself. This goofball who got in a fight with God Himself, who got plagued by a gang of penguins and who put laxative in the coffee of his best friend, wasn’t so bad in this more serious role. Unfortunately, his career has marked this good man. I expected any minute a spastic grin while doing an absurd dance with lots of leg-swinging. Personally, I think it’s quite logical because that’s the kind of movie role I associate Jim Carrey with. There aren’t many comedians who succeed to convince in a serious film. Dull, duller, dullest. The only thing this film radiates is dullness. And not just because of the scenery. The story is immensely long-winded. And as a fill-up, additional plots were added. So you’ll be presented with the story of the degraded detective and his will to take revenge on the injustice done to him. Obviously, you get the story of a detective who wants to solve the last case before he retires. A bit like Morgan Freeman in “Se7en“. But this time it’s because he wants to see his name fully cleared. There’s also the neglected wife who can’t longer cope with the absence and obsession of her husband. And finally, there’s the sex slave Kasia (Charlotte Gainsbourg), girlfriend of the writer Kozlov (Marton “The Equalizer” Csokas), who’s the culprit according to Tadek. She’s a drug addict and her SM past creates sinister images. One last time. Jim Carrey impressed. There are only a few moments you could call exciting. And that’s every time the writer Kozlov comes into the picture. His pseudo-intellectual jibber-jabber may not be essential from a substantive point of view, but his charisma and personality fill the screen completely. These were a few moments when you could feel the tension and intensity. Perhaps Charlotte Gainsbourg also caused a certain tension with certain images. However, all praise for Jim Carrey who impressed me, in an otherwise not so impressive film. His stiffness, resentment and the moments in which he realizes that he was wrong (with gagging as a result), are brought in an excellent way by Carrey. But that’s about it in this mediocre film. My rating 5/10

(Release Info London schedule; January 25th, 2019, 63 - 65 Haymarket, Westminster, 20:00 PM) "Second Act" As Maya Vargas (Jennifer Lopez) celebrates her 43rd birthday, she has one wish. A promotion. After 15 years at 'Value Shop', the past six as assistant manager, she’s ready to run the big box store in Queens. Her resumé doesn’t scream upper management, but her track record sure does. She’s an innovator who listens to customers, knows what they need and finds a way to deliver. But 'Value Shop' hires 'the right man for the job', a man with an 'MBA', not 'GED'- certified Maya. Maya’s boyfriend Trey (Milo Ventimiglia) and best friend Joan (Leah Remini) try to boost her spirits, but Maya is frustrated as once again street smarts doesn’t equal book smarts. Was her entire future determined when she was 16, or can she actually reinvent herself in her 40’s? Maya’s prospects brighten when she lands an interview at the Manhattan consumer products firm, 'Franklin & Clarke'. When Maya’s friends show up to make breakfast before her first day at 'Franklin & Clarke', a spontaneous 'Salt-N-Pepa' dance party breaks out in the kitchen. Anderson Clark (Treat Williams) wants to meet her and invites his daughter Zoe (Vanessa Hudgens), a rising star at the company, to check out Maya, too. While Zoe is skeptical, Anderson is dazzled by Maya’s ability to think on her feet, not to mention her 'Wharton' degree, 'Peace Corps' service, 'Mastery Of Mandarin' and overall power player vibe. But unknown to Zoe, her father, and initially even Maya herself, those credentials were invented by Maya’s godson, who surprised her with a brand-new online identity for her birthday. Thanks to her years of experience working at 'The Value Shop' Maya lands the job, although she’s uneasy about the deception, and unsettled about her other secrets, she’s confident she can do the job. Her first day at 'Franklin & Clarke' pits Maya against Zoe in a big product development competition. 'Franklin & Clarke’s' heavy hitters align with 'Team Zoe', but Maya and her tiny crew of corporate misfits are determined to succeed. Maya Vargas, a born-and-bred Queens girl, is having her 'Is that all there's'? moment when "Second Act" begins. She's disappointed when we meet her first. Maya has ridden the bus to 'The Ozone Park Value Shop' in Queens for 15 years. Each day, she puts on her smock and name tag and handles the store’s business with a firm and friendly hand. She knows she has what it takes to be the boss. The problem is convincing the chain’s 'CEO' that she’s qualified. But Maya, still wrestling with choices made as a teenager, has lived with regret ever since, and it’s holding her back. The people close to her would say she’s suffered long enough. But Maya has never even told her longtime boyfriend about this part of her life, and keeping that secret from him adds to her burden. Maya really is an every person. We all have dreams and often don't achieve them all. Maya is a person who made certain choices because of things that happened early in her life. There's a lot of regret about how it could have been different. As she tries to climb the ladder and things don't go her way, she sees some of those past decisions as the reason. But then she gets to cross the bridge! With that crossing, she becomes 'Manhattan Maya'. The film shows how women support each other through thick and thin. Maya is destined to be bigger than her friends. Joan is focused on being a mom, but wants Maya to get her chance. She believes that out of all of their friends, Maya is the one who will make it. But when Maya starts to lose sight of who she really is, it’s Joan who keeps her grounded. Of course, not every woman is as supportive. Hildy (Annaleigh Ashford), the product development executive assigned to work with Maya, sees her as a rival. They’re supposed to collaborate and come up with a product together, but Hildy wants to be top dog and will do anything to get there, including stomp on her fellow lady. She’s also one of the first people to see through Maya, and question if something else is going on. Zoe, 'The CEO’s' ambitious daughter, has her guard up, too. Zoe is not Maya’s biggest fan when she arrives at 'Franklin & Clarke'. She’s another woman. Another woman is a threat. But gender is also the reason Zoe’s attitude quickly changes. To see another woman hold her own in a male-dominated space is something that most women look up to. Zoe respects Maya and through that, they form a connection that Zoe didn’t expect. Maya in Queens is a bit sassier than 'Manhattan Maya', with a big hoop earring and bigger hair. Attitude! Borough girls naturally know how they want to look because they’re exposed to a lot of street style. Maya becomes the chic girl in Manhattan, some silks, some softer silhouettes, without completely abandoning the original. Because you can't do that. It's not a lobotomy. The original has to remain there to be believable. You always have to consider what a garment is going to do in a scene. It's not only the look of something, you've to tell the story. It's not a fashion runway. It's interesting for people to see combinations they wouldn't have thought of. This film is about reinvention, because so many people are stuck in lives they don’t want dreaming of lives they do, only to realize they had the power all along to change. It's about a woman who feels she never got a fair shake. But then she gets an amazing opportunity, albeit not entirely honestly, that changes everything for her. Maya learns she does not have to be stuck forever. You can always reinvent. You can always make a change. You can always keep growing and to me that message has so much relevance for everybody, but especially for women. She gets to know what life is like when your dreams come true. And of course she has to deal with the fall-out of lies while achieving the goal. In one of the favorite scenes at Michael Jordan’s 'The Steak House N.Y.C.' at 'Grand Central Terminal'. Maya, Zoe and her dad are having lunch when Maya’s Queens friends, posing as old 'Ivy League Chums', pop by to check on their girl. The film gets all of the women together and we see them interact, and that’s when the real soul of the movie comes out. "Second Act" inspired many conversations about second chances and reinvention and not giving up. About women empowering themselves and each other. About not letting one event become your whole story. About going for your dream, no matter your age or background or zipcode. This movie itself is a reminder that everything deserves a second look, a second chance. It's coming to the world at a time where people need to be reminded you just have to get creative when you’re thinking about what you’re going to do with the next 40 years. "Second Act" always means the second act of the show, when all the good stuff happens. It’s where we back up the story; it’s where the hero confronts their biggest battles, and where we've the opportunity to make the biggest, boldest choices. The mantra for "Second Act" is the only thing stopping you is you. You don’t have to hide. You really can just let all those feelings go.