tv The Film Review BBC News October 4, 2020 7:30pm-7:45pm BST
through this evening and overnight. turning showery and again, temperatures should hold up. it will not be very cold anywhere, six or seven. but some bright weather. even a little bit of mist first thing in the morning. this area of low pressure is going to be with us for the next two or three days. further showers, longer spells of rain, brisk winds. it stays disturbed and unsettled. around the southern area of that low pressure. for monday, it looks like the rain is more showery for some parts where it has been persistent during the day but we could see it returning to northern ireland and wales in western england. in between, though, those showers can be quite heavy with hail and thunder. temperatures a little higher than those of today, particularly notable towards the south because we have more sunshine around. the devil will be in the detail with those showers, the wind whips up again through tuesday across some areas. england and wales, more showers. they will be slower
moving further north. by wednesday, perhaps a bit of respite in the south but thursday looks quite nasty too. hello, this is bbc news. the headlines. president trump's doctors say he is continuing to improve — as he's treated in hospital for coronavirus — they also reveal more details of his condition before he was admitted — he received oxygen twice —
but they remain optimistic. if he continues to look and feel as well as he does today our hope is that we can plan for a discharge as early as tomorrow to the white house where he can continue his treatment course. here — the prime minister warns there could be "a very tough winter" ahead, as the country deals with coronavirus. i have got to tell you, in all candour, it is going to continue to be bumpy through to christmas. it may even be bumpy beyond. but this is the only way to do it. the cinema chain — cineworld — is expected to close indefinitely in the uk and elsewhere — with more than 5 thousand jobs are at risk here. sportsday is coming up — but first on bbc news it's time for the film review.
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. back in 2004, bill murray earned his only oscar nomination for lost in translation written and directed by sofia coppola. hi, dad. hey, kiddo. now the pair have re—teamed for on the rocks, a whimsical father—daughter comedy starring the brilliant rashida jones as laura, a 30—something mother that starts to doubt her husband's fidelity. here. you sure you don't want to use your phone? marlon wayans is dean,
whose numerous business trips have increasingly taken him away from his wife and young kids. you good? yeah. but it's murray's philandering felix who really starts the alarm bells ringing, assuring his daughter that all men are the same, that they're alljust like him. at some point we can make a decision about whether to tap his phone. no! laura, come on. he should be worshipping the ground you walk on, and if he's not, you need to know. what follows is a bittersweet new york caper in which laura and her dad pursued dean around the city while swapping nora ephron style observations about the differences between men and women with an added generation gap edge. kind of like the father of the bride meets when harry met sally. thank you. i'm going to take that as a compliment. jones is terrific as laura, a writer who finds herself blocked by the pressures of parenthood, and whose anxieties about her husband, stirred up by herfather, reflect deeper worries about her own worth — her life, hertalent, herachievements. as for murray, he's deliciously
deadpan as the dinosaur who spent his life chasing women but who, in the end wants, nothing more than to be loved by the daughter he idolises. and how do you bluff? poker face. poker face! nice! there's a great supporting turn, too, from jenny slate as laura's self—obsessed friend love life provides a catastrophic counterpoint to the film's central relationship. but it's the screwball comedy chemistry betweenjones and murray that makes this pop, combining warmth and wit with an astringent underlying sadness that really cuts to the heart of the piece. it's in cinemas now, and on apple tv+ in a few weeks. remember this face? she was one of spotlight magazine's 30 under 30 playwrights to watch. we watched, but where did she go? staying with new york, the 40—year—0ld version finds writer—director radha blank starring in a semi—autobiographical tale of a harlem—based playwright struggling to find success without selling out.
put in nothing, it will be nothing. like your career? having won a 30 under 30 award over a decade ago, radha now finds herself teaching high school students and wondering what happened to her once promising career. how are you? good. archie tells me you're teaching. her best friend archie, played by peter y kim, thinks reed birney‘s smarmy theatre manager is a solution, if only radha would give him what he wants, the saleable cliches of poverty porn. but radha is more interested in getting back to her roots, rapping with a dj as the punningly named radhamus prime. get it? think about me doing hip—hop. doing what to it? a popular festival awards winner, blank‘s feisty debut is an indie film with oomph. by turns funny, angry and wryly satirical deftly blending the personal and the political in a manner that is as entertaining as it is enlightening and empowering.
# white man with a black woman's butt. # how you carry all that back there? # what the...#. it's in cinemas now, and on netflix from october the 9th. we have to make a decision right now. a decision ijust assume we had already made four months ago when trial prep began. are we using this trial to defend ourselves against very serious charges that could land us in prison for ten years? the trial shouldn't be about us. well, i would love it if it was not about us, but it definitely is. aaron sorkin rose to fame as the writer of tv‘s west wing, before penning fast talking screenplays for films like the social network which earned him an oscar. in 2017, he wrote and directed the feature film molly's game, and now he's back behind the camera for the trial of the chicago 7, a showy romp about the real—life prosecution of anti—vietnam war protesters charged with conspiracy to incite a riot at the 1968 democratic convention.
we've heard testimony from 27 witnesses under oath that say you hoped for a confrontation with the police. that your plans for the convention were designed specifically to draw the police into a confrontation. well, if i'd known it was going to be the first wish of mine that came true, i would have aimed a lot higher. 0riginally written for steven spielberg to helm back in 2007, aaron sorkin‘s second directorial outing is a star—studded and somewhat hair—heavy affair. with sasha baron cohen and jeremy strong sporting full head trees as counterculture icons abbie hoffman and jerry rubin, while mark rylance experiments with an outlandish comb—over as lawyer william kunstler. can you tell us why? because this is my courtroom. 0n the other side of the cultural parting, joseph gordon—levitt is more conservatively camped as prosecutor richard schultz, while frank langella pretty much dispenses with hair altogether in a scene—stealingly cranky turn as judge julius hoffman. on top of that, we have eddie redmayne as tom hayden,
john carroll lynch as david dellinger, kelvin harrisonjr as fred hampton, michael keaton as ramsey clark, and yahya abdul—mateen as bobby seale, a stellar roster indeed. such how much is it worth to you, what's your price? to call off the revolution? my life. anyone watching scenes of protesters being clubbed and tear—gassed in us cities, or of african—americans being bound and gagged by a clearly politicised judiciary cannot help but draw comparisons with contemporary news footage, comparisons that aaron sorkin is keen to emphasise. there is a message in this entertainment. i'm tired of hearing you. it would be impossible for me to care any less what you are tired of. but there's also a fair amount of contrivance, caricature and, "you can't handle the truth", courtroom drama cliches. unsurprising since aaron sorkin wrote both of the play and film of a few good men. the end result is a hodgepodge of still relevant history,
and inevitable screen hokum that you can find in cinemas now. meanwhile, the netflix—only release of the boys in the band also takes us back to 1968, with a new version of mark crowley's stage play. all right, this is a raid, everybody‘s under arrest. hello darling — connie casserole, or mary, don't ask? hi, ann marie. come one, you can put it in the kitchen. who is this exotic woman over here? my dear, i thought you had perished, where have you been hiding your classically—chiseled features? crowley's play was first filmed in 1970 by william friedkin, with leonard fry as birthday boy harold, at whose party a group of gay men tear themselves and each other apart. since then, it's had numerous revivals including a barnstorming 2017 west and production in which mark gatiss played the imperious harold to a t. happy birthday. you're late. 0h, michael, you kill me. when he's sober, he's dangerous. when he drinks, he's lethal.
now zachary quinto takes on that enigmatic role, rejoining the cast of the cast ofjoe mantello's tony award—winning 2018 broadway revival for this latest screen version. shot by ace cinematographer bill pope, whose credits include the matrix and baby driver, mantello's film works hard to transcend its stage roots leading us through the social interactions with a restless energy that's hard to resist. we all have to call the one person we truly believe we have loved. while the play itself is undoubtedly dated, despite some rewriting, the vivacious ensemble cast keep things fresh — injecting a modern energy into this period piece and celebrating the legacy of crowley who died in march. now, i don't, i don't want to cause anyone any offence. but i brought my own presents this year. yes, i have. yeah. it'sjust, to be honest...
you know, i've had enough of all the soap and the socks all the time, because it is a lot. isn't it? yeah, i know, i can see it. i recognise the shape. i like them, i've just got a lot of them. from the us to the uk with eternal beauty, a melancholy darkly comedic psychodrama in which sally hawkins plays jane, a middle—aged woman living with schizophrenia whose life, like the film, slips between the past and the present between hallucinations and the here and now. nine o'clock every night, spiders come out of the walls. like one now. morfydd clark, soon to be seen in the brilliant saint maud, is the youngerjane, jilted at the altar by her errant fiance triggering the breakdown that will haunt her later life. elsewhere in this impressively a—list brit—pick cast, alice lowe is jane's sympathetic sister, penelope wilson, her unsympathetic mother and billie piper, the chancer sibling looking for an opportunity to cash in onjane's misfortune.
i'm claiming money on the sick for mental health, and they're coming around here shortly to examine me to make sure i'm in a nutjob. why, what's wrong? i've got what you've got. time of the month? written and directed by craig roberts, who made a splash in submarine and helmed 2015's justjim, eternal beauty is an ambitious film that has drawn comparison with the works of wes anderson, michel gondry, and charlie kaufman. you're the most beautiful thing i've seen today. can you shut up? personally, i was put more in mind of the very little—seen tim spall oddity stanley a man of variety, an equally adventurous work in which a psychiatric patient is visited by the ghosts of musical performers all played by spall himself. inspired by a relative to whom roberts wanted to pay tribute, and co—produced by the wellcome trust, eternal beauty strives to avoid stigmatising jane's condition. although, personally, ifound the performances rather too mannered and overwrought to entirely
convince or engage. but astute production design and expressive 35mm cinematography help draw us in, and show us the world through jane's eyes. overlapping voices: jane! you can see it in select cinemas and on demand now. that's it for this week, thanks for watching the film review. stay safe, and i'll see you next week. i've got something for you. siren blares. you're dead. now on bbc news it's time for sportsday. hello and welcome to sportsday — i'm jane dougall. two penalties, seven goals, and a red card. safe to say it was an eventful match at old trafford with questions being asked of solskjaer — but celebrations for spurs.
it's a marathon and a sprint. a surprise finish in london for the ethiopian shura kitata. and the top seed is out of the french open, simona halep beaten by a teenager. hello and welcome to sportsday. welcome to the programme. we'll take you to an incredible game for tottenham at old trafford injust a moment, but first — aston villa are beating the defending champions liverpool 2—0 at villa park. 0llie watkins scoring in just the fourth minute, then getting a second on 23 minutes. where do we start with the match at old trafford? a penalty in the first thirty seconds and then five goals and a red card in the first half.