tv The Film Review BBC News October 31, 2020 11:45pm-12:01am GMT
there is no other connery! sorry! there is no other james bond for me. laughter thank you very much to both of you. yasmin alibhai—brown, rosamund urwin, thank you very much. that is it from us. i hope you have enjoyed it. goodbye. hello and welcome to the film review with me, mark kermode, rounding up the best movies available for viewing in cinemas and in the home.
in the terrific new brit pic mogul mowgli, riz ahmed plays zed, a british pakistani rapper on the brink of his first world tour. he raps cheering he raps but when zed is struck down by a debilitating sickness, he finds himself facing a future as uncertain as the identity he struggles to define. torn between dreams of success and loyalty to his roots, zed becomes haunted by magical realist visions interwoven through the fabric of this urgent urban drama. if you want me back to where i'm coming from... directed by feature first—timer bassam tariq from a script
co—written by actor—musician ahmed, mogul mowgli is as enigmatically hard to define as its central character. i tried to stand up for my blood. my blood won't let me stand up. riz ahmed himself has called it a sufi horror musical with elements of comedy about family ties and generational divides, while others have variously described it as a streetwise thriller, a rap—fuelled tone poem, and a modern spiritual odyssey. whatever you call it, mogul mowgli is an impressively unpredictable hybrid that grabs the audience's attention and draws us deep into zed's highly personal experience. finding a balance between explanation and intuition, the film—makers trust their audience to keep pace with the shifting narrative, finding universal themes in the details of zed's specific story. it's a genuinely unique work and i advise you to seek it out in cinemas. he raps
now, this being halloween weekend, there are several films on offer with a seasonal horror theme. when was the last time you spoke to her? it's been a few weeks. top of the pile is relic, the extraordinary debut feature from natalie erika james which offers a spine tingling, heartbreaking tale of a woman with alzheimer's becoming lost in the labyrinthine corridors of her mind and her home. tea? emily mortimer is kay, the somewhat distant daughter of robyn nevin's edna, who lives alone in a remote woodland house in victoria, australia. when edna goes missing, kay and her daughter sam, played by bella heathcote, hurry to the increasingly decrepit family home, where edna mysteriously reappears with no memory of where she has been. do you know where you were, mum?
i suppose i went out. kay wants to move her mum to a care home in melbourne, but dreams of a cabin riddled with creeping black mould and edna's own belief that there is someone else in the house lead our protagonists deeper and deeper into the dark heart of her condition. like its australian stablemate the babadook, relic, which is co—written by christian white, is a horror movie with a heart, a film that uses its surreal narrative to tell a story that is absolutely rooted in reality, in the tensions, anxieties and projections of child parent relationships, and in the bewildering spectre of dementia. describing her film as dealing with the terror of grieving for the loss of someone while they're still alive, james conjures a superb chiller that's both profoundly scary and also profoundly moving. there are echoes of the psychogeography of edgar allan poe's fall of the house of usher, along with the dream logic
of david lynch's eraserhead. but it's the awesome sense of longing, loss and ultimately love that is the film's strongest suit, putting it in the same category as hideo nakata's masterpiece dark water, which similarly blended tears with fears to absolutely overwhelming effect. gran, you're bleeding. i can do it myself. you've hurt yourself... no! stop! get out of here! get out, get out! it's my room, it's my house! get out! relic, which is released under the prestigious fright fest presents label, is one of the films of the year. it's available in cinemas and on digital now. eerie whispering from australia to britain for another very impressive feature debut that blends surreal horror with social realism. congratulations.
you're being released as asylum seekers. not as citizens, not yet. written and directed by remi weekes, his house, which opened in cinemas last week and is now on netflix, finds a sudanese refugee couple forced to live in a rotting house on a bleak and inhospitable estate. told that they must stay here or risk arrest and deportation, the pair soon discover that they are not alone in the house, that guilty secrets lurk within its walls. as long as you can get along, fit in, be one of the good ones. was this dark force there already? did the couple bring it with them? and most importantly, can they live with it? i saw something. brilliantly dramatising its central sense of displacement and alienation, his house asks what it means to belong somewhere, to have to assert your right to live in your home, even when that home turns upon you. tonally, this reminded me of babak anvari's under the shadow, in which a mother and daughter
are trapped in a besieged tehran apartment, or of mati diop‘s atlantics, in which ghostly apparitions haunt a tale of imperilled senegalese migrants. matt smith is the housing officer who tells the couple to just fit in, but it's sope dirisu and wunmi mosaku who carry the film, making us care about their plight and share their dreams and nightmares. this is my house! one of the greatest horror novels of all time, the haunting of hill house, was written by shirley jackson, herself the subject of the new film shirley byjosephine decker. i'm well within the bounds of our agreement. hm... our agreement didn't include sluts interrupting my dinner. handmaid's tale star elisabeth moss plays jackson as a brittle, unstable presence who shares a toxic dependency with husband stanley, reminiscent of who's afraid of virginia woolf? into this household comes
odessa young's rose, a pregnant young newlywed whom the author initially torments and ridicules. oh, so the writing's going well, then? please don't ever ask me that again. but as shirley starts to write a story inspired by the real—life disappearance of paula jean welden, rosie and paula's identities begin to overlap with disorienting consequences. you are hiding something. based on a novel by susan scarf merrell, shirley is not a conventional biopic. rather, it's a work of fiction mixed with some fact that attempts to paint a screen portrait of shirley jackson that somehow echoes the tone of her eerily inimitable writing. you're getting on well with the wife. you don't want my work to suffer, too, do you? i'm not one for dramatics. inevitably that's a near impossible task, and there are plenty of moments when shirley proves as patience testing as its embittered and frequently unlikeable subject. but there's something admirable about a film which is willing to take these kind of risks,
indulging in the same strange character transfers that were a key part of jackson's poetic literature and giving moss the chance to tear up the screen as an enigma who proudly calls herself a witch. you're really scraping the barrel these days. the result may not be a great film, but it is brave, and i suspect it would have raised a cynical chuckle from jackson herself. it's in cinemas and on curzon home cinema now. i know about witches. they're real! roald dahl‘s 1983 novel the witches was memorably filmed by nic roeg in 1990, an adaptation notable for its weird atmosphere and for its botched finale which wimped out on the source material. now, back to the future director robert zemeckis has cooked up a new version of the witches which moves the action to ‘60s america. when young orphan charlie hanson goes to live with his grandma
agatha, played by octavia spencer, she teaches him that witches are real and takes him to the fancy—schmancy hotel where a spectacular showdown of mice and men ensure. originally envisaged as a stop motion animation to be directed by guillermo del toro, who now shares screenwriting credit, this live—action cg—heavy roller—coaster romp lacks the beautiful strangeness of roeg's version, with anne hathaway's strangulatedly scandi—inflected grand high witch proving no match for anjelica huston's legendary incarnation. what happened to us? elsewhere, there's plenty of stuart little style kinetic mouse action, but little of the eeriness which made dahl‘s source such an anarchic treat. yet, for all its flaws, this does at least follow through on the promise of the source story, a reason to be cheerful. originally intended for cinema release, it's available now for rental on a range of streaming platforms. you're a wolf when you sleep... a girl when you're awake.
robyn! something's happened to me. yeah, i can see that. flipping great! i'll leave you with news of something altogether more original — wolfwalkers, the latest jaw—dropping animation from cartoon saloon, the kilkenny—based company behind secret of kells and song of the sea. sean bean provides the voice of bill goodfellowe, a i7th—century hunter who takes his daughter robyn to ireland, where simon mcburney‘s cromwellian lord protector commands him to rid the forest of wolves. but when robyn befriends a young wolfwalker, who is a girl when awake, a wolf when asleep, she unlocks a transformation that will place her and herfather in grave danger. co—directed by tomm moore and ross stewart, this gem of a movie runs in the tradition of the films like miyazaki's princess mononoke or hosoda's wolf children, an adventure centred on the forging or breaking of an essential bond with nature.
it's a thrilling, empowering, life—affirming tale that will dazzle viewers young and old alike. it's in cinemas nationwide now. that's it for this week. thanks for watching the film review. i'll be back in a fortnight. next week, it's anna smith. gran? hello. storm aiden brought torrential rain and gales to a large swathe of the uk on saturday. those strong winds really whipping up the waves, particularly across southern and western coasts. but as the rain eased and the skies cleared, it's been an opportunity through the night for many to see the blue moon, a second full moon this month, but it's only a brief respite from the rain. there's more to come overnight and into sunday. still a number of met office warnings in place for both the rain and the wind, and all the details are on our website. so this is how sunday shapes up.
this is the area of low pressure responsible for storm aiden, now pulling away northwards. a second area of low pressure to the northwest of the uk. and notice how the isobars are tightly packed together. so it's another windy day and we start the day, for many, very wet as well. that rain will clear away eastwards, and behind it, some spells of sunshine, although also some showers piling in from the west. and then another band of more persistent rain arriving into northern ireland, southern scotland, northern england, the midlands and wales, maybe southwest england later in the day, some heavy and persistent rain, and also across the western side of scotland. temperatures range from ten to 17 celsius. it may not always feel that way given the wind and the rain. and those winds still very much a feature, particularly across western scotland, where they could still exceed 70 miles an hour in terms of gusts. and that rain keeps on falling to parts of northern england, wales and the midlands as we go through sunday night and into monday, also pushing into parts of southwest england as well, slowly starting to ease, and we start the new week very mild indeed. overnight temperatures not that much different from what we will see in the daytime. so this is where we are on monday.
that frontal system starting to pull away, but still showers or longer spells of rain pushing in from the west, and still another windy day, so it's quite a messy picture to start the week. if you like the weekend weather, it's just lingering into the new week. some places may manage to stay dry, but those showers never too far away. and temperatures, again, in a range from ten to 17 celsius, so we are still fairly mild, but not for much longer. the winds definitely still a feature, still quite gusty but gradually easing down, and that process will continue as we go through tuesday and into wednesday because, finally, we start to see an area of high—pressure starting to build across the atlantic and our way, so that will start to settle things down. the winds will become lighter, it will generally become drier. but with that, it will also turn colder, both by day and by night.
this is bbc news: i'm lewis vaughan jones with the latest headlines for viewers in the uk and around the world. boris johnson announces a four week national lockdown in england — he said "no responsible prime minister" could ignore the surging rates of coronavirus infection. the virus is doubling faster than we can conceivably add capacity. so now is the time to take action because there is no alternative. president trump and joe biden make a last weekend dash around swing states — as the as the clock counts down to tuesday's election. rescue teams in the turkish city of izmir are working through the night to pull survivors out of the rubble of buildings, crushed in friday's earthquake. bond, james bond.