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will look forward to the Grand Prix, and the NFL's LA Rams and New York | :00:00. | :00:00. | |
Giants meet at Twickenham. That is all to come on Sportsday. | :00:00. | :00:10. | |
But now on BBC News it is time for The Film Review. | :00:11. | :00:19. | |
Hello and welcome to The Film Review on BBC News. | :00:20. | :00:22. | |
To take us through this week's cinema releases is Mark Kermode. | :00:23. | :00:24. | |
So, Mark, what do we have this week? | :00:25. | :00:29. | |
We have I, Daniel Blake, which as you know is the new film by Ken | :00:30. | :00:33. | |
Loach which I know you have seen before. Ouija: Origin of Evil, does | :00:34. | :00:42. | |
what it says on the packet. And Queen of Katwe, a very interesting | :00:43. | :00:47. | |
family film. Like they just do not make any more. Who are you talking | :00:48. | :00:53. | |
to? Spirit, can you hear me? I will lay my cards on the table. I think | :00:54. | :00:58. | |
Loach is a genius. Yes, I think he has proved once again he is an | :00:59. | :01:04. | |
incomparable talent. The Wind That Shakes The Barley in 2006. This one | :01:05. | :01:10. | |
star is a 15 a new joiner who has had a heart attack at work, played | :01:11. | :01:14. | |
by Johns, who is told he cannot go back to work by his doctor. At the | :01:15. | :01:19. | |
start of the film see him taking a questionnaire asking if he can walk, | :01:20. | :01:23. | |
move his arm to hold something in his top pocket, and he then scored | :01:24. | :01:28. | |
12 points which means he is not eligible for employment but to get | :01:29. | :01:31. | |
his Jobseeker's Allowance he has to slip in his CV around town, looking | :01:32. | :01:35. | |
for jobs that do not exist and which he cannot take any way because his | :01:36. | :01:40. | |
doctor has told him he cannot work. He cannot manage computers, so he | :01:41. | :01:45. | |
gives up, and he sees single mother, played by Hayley Squires, who has | :01:46. | :01:49. | |
been homeless for two years, giving a home hundreds of miles from anyone | :01:50. | :01:53. | |
she knows and as a result she turns up late and is not being treated, | :01:54. | :01:57. | |
shall we say, compassionately? Here is a clip from the film. I tried to | :01:58. | :02:02. | |
explain to the woman, I have never been to Newcastle before. We just | :02:03. | :02:07. | |
moved up from London, I don't know where I am going. The boss went the | :02:08. | :02:11. | |
wrong way. She just doesn't want to know. What I want you to do is | :02:12. | :02:17. | |
listen carefully. The lady has told you what is right. There are rules | :02:18. | :02:21. | |
here we have to stick to. It is not against you... You have a duty to be | :02:22. | :02:27. | |
here on time. And I am explaining why I wasn't here on time. I got | :02:28. | :02:33. | |
lost. I understand but what I gather is the decision maker will send you | :02:34. | :02:36. | |
a letter through the post. You will have to wait for that... I have | :02:37. | :02:41. | |
about 12 times in my purse all because you cannot down come and | :02:42. | :02:43. | |
listen to people when they talk. Your role -- about 12 quid in my | :02:44. | :02:49. | |
purse. If I was going to create a scene you would know about it. This | :02:50. | :02:55. | |
is ridiculous. Jesus Christ, who is first in this queue? Do you mind if | :02:56. | :02:59. | |
this young lass signs on first? There you go, go back to your desk, | :03:00. | :03:04. | |
let her sign on and do the job the taxpayer pays you for. He is the | :03:05. | :03:10. | |
decision maker! Yes, that phrase, it is terrifying. This is brilliantly | :03:11. | :03:16. | |
written by Paul Laverty, one of my favourite screenwriters. Ken Loach | :03:17. | :03:20. | |
said this is partly about the deliberate use of bureaucratic | :03:21. | :03:23. | |
inefficiency as a political weapon, to basically punish people and stop | :03:24. | :03:28. | |
them from claiming benefits by making things ridiculous. On the one | :03:29. | :03:31. | |
hand it is a very angry film about people at the sharp end of | :03:32. | :03:35. | |
austerity, however it is also and this is overlooked a film which | :03:36. | :03:40. | |
celebrates unbreakable bonds between people at the sharp end. What | :03:41. | :03:44. | |
happens is Daniel Blake takes her under his wing, he is a carpenter, | :03:45. | :03:52. | |
starts to do up her flat, is impressed that she wants to go back | :03:53. | :03:55. | |
to the open University to make something of herself. I think the | :03:56. | :03:57. | |
film is a brilliant balancing act of Kent opposing that compassion with | :03:58. | :04:01. | |
the lack of compassion of the system which demands somebody fills out a | :04:02. | :04:04. | |
form online when they do not have any idea how to use a computer. He | :04:05. | :04:09. | |
has never seen a mouse and when someone says Ron the cursor up the | :04:10. | :04:12. | |
screen, he literally runs at up the side of the screen. It works on a | :04:13. | :04:16. | |
personal level. I have seen it a couple of times now. There is one | :04:17. | :04:20. | |
scene in a food bank which is one of the most profoundly moving things I | :04:21. | :04:27. | |
have ever seen on screen. The great thing about Loach and Paul Laverty | :04:28. | :04:30. | |
together, because they are a great double act, is the find a way of | :04:31. | :04:36. | |
humanising people on the margins of society which goes right back to | :04:37. | :04:40. | |
Cathy Come Home and so on, which makes people who may not be | :04:41. | :04:45. | |
sympathetic, sympathetic. It lets you see the world through their | :04:46. | :04:49. | |
eyes. As I said, the thing that sometimes gets overlooked, it is a | :04:50. | :04:56. | |
kind of absurdist tragic situation, like Kafka, but the bond between | :04:57. | :05:00. | |
them and the way that contrasts with the faithlessness of the situation | :05:01. | :05:04. | |
they are dealing with. You're right. It is a personal story, like all of | :05:05. | :05:09. | |
Loach's stuff, but it is also very political. You come out feeling | :05:10. | :05:13. | |
enraged but saddened. It is also very human. The performances are | :05:14. | :05:18. | |
terrific and you believe in the characters. I think it is a really | :05:19. | :05:22. | |
important film. Any decision makers in Ouija: Origin of Evil? If there | :05:23. | :05:27. | |
are, they are on the other side. A step up from its predecessor. Period | :05:28. | :05:32. | |
setting, 1960s. The story is there is a woman two kids, running a fake | :05:33. | :05:40. | |
seance session, and she is surprised when she gets double-mac Ouija board | :05:41. | :05:43. | |
and is surprised that her daughter is speaking to spirits -- gets a | :05:44. | :05:51. | |
Ouija board. The funny thing about it is although it was digitally | :05:52. | :05:54. | |
projected when I saw it, it has these blemishes built in. Making it | :05:55. | :06:01. | |
look like an old film, this kind of nostalgic retro thing going, which | :06:02. | :06:03. | |
is quite charming and seems to behave quite well in the first half | :06:04. | :06:07. | |
of the film. It loses its nerve in the second half, turning into all | :06:08. | :06:14. | |
that silliness from Poltergeist, Exercised numerically, and also a | :06:15. | :06:19. | |
film called Screamers which nobody remembers any more, I think it owes | :06:20. | :06:26. | |
a debt to that -- Exercised numerically. I wished it could stay | :06:27. | :06:33. | |
that drama from the beginning. You heard the shrieks of enjoyment | :06:34. | :06:40. | |
watching it. The moral is, if you are interested, don't mess around | :06:41. | :06:44. | |
with the spirits. Do not mess around with Ouija board under any | :06:45. | :06:48. | |
circumstance! And Ouija: Origin of Evil? Yes, Phiona Mutesi who grew up | :06:49. | :06:56. | |
in an impoverished area of Kampala was discovered to have a great skill | :06:57. | :07:01. | |
at chess. David Oyelowo things are and thinks this is fantastic and | :07:02. | :07:05. | |
wants to take her away the competition is about which she is | :07:06. | :07:14. | |
very worried. He was a clip. -- away to competitions. Never tip your king | :07:15. | :07:25. | |
so quick. Why not? When you're going to be beaten anyway? Focus on what | :07:26. | :07:30. | |
you have. I do not think you come from here. When I was a child my | :07:31. | :07:38. | |
mother left me. In that moment, I wanted to die. But it was a good | :07:39. | :07:42. | |
thing I did not take my life then, otherwise I would not have seen my | :07:43. | :07:48. | |
daughter, I would not have met them or due. Me? | :07:49. | :07:54. | |
Do not be quick to take your king, Phiona? You must never surrender. A | :07:55. | :08:06. | |
Disney film in mainstream cinemas. Telling a story perhaps you may | :08:07. | :08:10. | |
never have seen before and it does that thing old family films used to | :08:11. | :08:14. | |
do, suitable for everyone, PG rated movie. I think the whole family can | :08:15. | :08:19. | |
get something out of it. Really uplifting, a true story which | :08:20. | :08:21. | |
apparently sticks pretty close to the original story. It has a real | :08:22. | :08:26. | |
sense of location. You feel they are with those characters. It is clearly | :08:27. | :08:30. | |
made with passion, very well directed by Mira Nair who made | :08:31. | :08:35. | |
Salaam Bombay!. I went in with very little expectations and did not know | :08:36. | :08:38. | |
much about the story. And when everyone mentions chess on film, you | :08:39. | :08:45. | |
think... Yes, I can imagine. There have been a few good chess movies | :08:46. | :08:49. | |
but it is a harder sell. This was really vibrant, engaging, and as I | :08:50. | :08:54. | |
said, it is that rarest of things, a family film. From Rocky the Slum Dog | :08:55. | :09:01. | |
Millionaire, will of the underdog. Someone who does really well. Any | :09:02. | :09:06. | |
story of aspiration, very cinematic, but also very easy to make that | :09:07. | :09:10. | |
stuff cheesy, and the real clemency is it is not cheesy but really | :09:11. | :09:18. | |
moving. Your best is American Honey? Yes, her best work I think since Red | :09:19. | :09:27. | |
Road. She is 18, on the road, shot in the old square Academy ratio, and | :09:28. | :09:31. | |
it is the most perfect use of that ratio. It is long, two hours and 40 | :09:32. | :09:36. | |
minutes, and I tend to be really picky about long films but it did | :09:37. | :09:39. | |
not feel wrong to me. I think it is a really engaging film. -- did not | :09:40. | :09:49. | |
feel long to me. She makes a certain type of film I think nobody else can | :09:50. | :09:53. | |
make. A fine piece of work. And you were the world's biggest fan of this | :09:54. | :10:02. | |
DVD, Notes On Blindness. Had he seen it? It is based on the audio tape | :10:03. | :10:06. | |
diaries of his compassionate account of losing his sight. -- have you | :10:07. | :10:14. | |
seen it? No. It also develops this kind of soundscape world. I think it | :10:15. | :10:18. | |
is genuinely spiritual, I think it has transcended quality to it. On | :10:19. | :10:22. | |
the one hand it is a love story. On the other, it is a real sort of | :10:23. | :10:27. | |
voyage of exploration, and the greatest compliment to give it is | :10:28. | :10:30. | |
that I cannot think of another film that does what it does in the way it | :10:31. | :10:35. | |
does it. Again, if it is not on my list of top ten films at the end of | :10:36. | :10:45. | |
the year I would very surprised. And he is theologian having to deal | :10:46. | :10:47. | |
with, why does God do this? Why have I gone blind? Yes, and he raises | :10:48. | :10:51. | |
that sort of question and the conclusion he comes to... There are | :10:52. | :10:54. | |
moments of genuine revelation and you hear this on the audio tape. It | :10:55. | :11:01. | |
is superb, Gavin. Believe me. OK, I have to do it. So much good stuff | :11:02. | :11:07. | |
out. Yes, and the weather is getting cold saw a good time to get DVDs! | :11:08. | :11:14. | |
You can see all of The Film Review online including all of our previous | :11:15. | :11:18. | |
shows. That is it from The Film Review and Mark Kermode. Enjoy the | :11:19. | :11:22. | |
movies. Thanks for watching. Goodbye. | :11:23. | :11:31. |