:00:00. > :00:00.opening single. We'll also have the super league results, all at
:00:00. > :00:15.10:30pm. Now it's time for the film review.
:00:16. > :00:18.Hello and welcome to The Film Review on BBC News.
:00:19. > :00:20.To take us through this week's cinema releases,
:00:21. > :00:31.We have I Am Not Your Negro, which is an Oscar-nominated
:00:32. > :00:43.We have Raw, which is a real breathtaking debut feature.
:00:44. > :00:45.And A Quiet Passion, Terence Davies' film
:00:46. > :00:52.And I Am Not Your Negro, billed as a documentary.
:00:53. > :00:55.Is it solidly a documentary, a funny genre?
:00:56. > :00:58.Well, basically what it is if it's based on an unfinished project that
:00:59. > :01:02.James Baldwin had started working on, to tell the story of America
:01:03. > :01:05.through the story of three men, Medgar Evers, Malcom X
:01:06. > :01:14.And so what you get is the film is narrated by Samuel L Jackson,
:01:15. > :01:18.and it mixes news footage, reportage, clips from movies,
:01:19. > :01:22.clips from television programmes and it puts together basically
:01:23. > :01:26.a narrative which tells the story in a way which is both polemical
:01:27. > :01:30.One of the outstanding features is some of the footage
:01:31. > :01:33.of Baldwin himself, who comes across as a brilliant orator
:01:34. > :01:45.I have more in common with a black scholar than I have with a white man
:01:46. > :01:51.And you have more in common with a white author
:01:52. > :01:53.than you have with someone who is against all literature.
:01:54. > :01:55.So why must you always concentrate on colour,
:01:56. > :01:58.There are other ways of connecting men.
:01:59. > :02:02.When I left this country in 1948, I left this country with one
:02:03. > :02:07.I might have gone to Hong Kong, I might have gone to Timbuktu.
:02:08. > :02:13.There was a theory that nothing worse could happen to me there that
:02:14. > :02:19.You talk about making it as a writer about yourself.
:02:20. > :02:22.You have to be able then to turn all the intent with which you live,
:02:23. > :02:26.because once you turn on your back on this society, you may die.
:02:27. > :02:29.You can see it seems really, really urgent, really engaging,
:02:30. > :02:39.The way in which they mix news footage and television and films.
:02:40. > :02:41.There is a very coherent argument, which is about the sort
:02:42. > :02:45.of nature of America, which seems every bit as pertinent
:02:46. > :02:49.now as it did when this was sort of first envisaged.
:02:50. > :02:51.The thing that was most striking about it is,
:02:52. > :02:53.on the one hand, you asked, is it a documentary.
:02:54. > :03:09.It's basically it's a visual essay that's put together with I think
:03:10. > :03:14.No, it doesn't and that's what's so brilliant about it.
:03:15. > :03:17.You end up feeling that what you are seeing is a visual
:03:18. > :03:21.representation of an argument that may have been laid down a literature
:03:22. > :03:24.and really engaging, really as I said timely.
:03:25. > :03:27.Put together in a way that absolutely grabs the audience's
:03:28. > :03:29.attention and leads them through this story.
:03:30. > :03:36.It was up against very strong competition in the Oscars,
:03:37. > :03:38.but it's a really good piece of work that is accessible
:03:39. > :03:42.And has done really well at the box office.
:03:43. > :03:45.Perhaps more than they expected, which is quite heartening as well.
:03:46. > :03:48.Now, look, Mr Kermode, because when we decided
:03:49. > :03:51.that we would like to continue working together, I said
:03:52. > :03:53.your challenge of course was to try to get me
:03:54. > :03:56.Well, thanks for doing that on week one.
:03:57. > :04:05.It's a French Belgian cause c l bre, from
:04:06. > :04:08.The story of a young woman who was a vegetarian,
:04:09. > :04:14.who goes to vet school and there are these hazing rituals.
:04:15. > :04:16.One such ritual, she is forced to eat a raw rabbit.
:04:17. > :04:19.She says, I'm not going to do that, I'm a vegetarian, but then
:04:20. > :04:21.she starts to develop previously suppressed appetites.
:04:22. > :04:24.The film turns into on the one hand a horror movie,
:04:25. > :04:29.that refers to movies like I suppose Trouble Every Day, and to some
:04:30. > :04:31.that refers to movies like I suppose Claire Denis'
:04:32. > :04:38.But on the other hand is a story about a young woman attempting
:04:39. > :04:41.to fit in when she is a misfit, about somebody who really wants
:04:42. > :04:44.to be part of a group but discovers that she's something
:04:45. > :04:47.It's very metaphorical and allegorical and on some level
:04:48. > :04:49.the director described it as a modern tragedy,
:04:50. > :04:52.It's also got a fairy tale element to it.
:04:53. > :04:56.Yes, there are visceral things in it.
:04:57. > :04:59.Yes, there are moments in which you will gasp and recoil,
:05:00. > :05:01.There's really heartfelt emotion in it.
:05:02. > :05:06.It has meaty substance, pun fully intended.
:05:07. > :05:10.I hear you, but I also read that people have been actually
:05:11. > :05:18.Yeah, stories about people fainting I'm sure are exaggerated.
:05:19. > :05:23.Honestly, give it a go, you'll really like it
:05:24. > :05:31.Let's see how long we work together before I have the
:05:32. > :05:37.guts, in every sense, to go and see that.
:05:38. > :05:39.I am however really looking forward to A Quiet Passion, the
:05:40. > :05:46.This is his film about Emily Dickinson.
:05:47. > :05:48.A terrific central performance I think by Cynthia Nixon.
:05:49. > :05:51.She is the young poet was told early on that the classics of
:05:52. > :05:58.every language of the works of men, not women, says an editor who agrees
:05:59. > :06:00.to publish one of her least wayward problems.
:06:01. > :06:02.She's a rebellious spirit, she is wrestling with the eternal
:06:03. > :06:06.Also with her lack of recognition in her lifetime.
:06:07. > :06:08.She is finding solace in her family, and her friends.
:06:09. > :06:23.Do you suppose that men are frightened of a woman who teaches,
:06:24. > :06:31.Men are supposed to be fearless, aren't
:06:32. > :06:57.And Catherine Bailey is a scene stealing-ly good.
:06:58. > :06:59.And Catherine Bailey is scene stealing-ly good.
:07:00. > :07:02.What I like about this film is, on the one hand, it is
:07:03. > :07:05.There is real life and laughter in it.
:07:06. > :07:12.It is a film which is about poetry which has visual poetry, the
:07:13. > :07:16.You end up thinking of Vermeer or Carl Dryer.
:07:17. > :07:20.If you know Terence Davies work, and the way in which she will
:07:21. > :07:23.If you know Terence Davies' work, and the way in which he will
:07:24. > :07:26.move a camera very slowly around a room or a theatre, he is somebody
:07:27. > :07:29.who at an early age fell in love with cinema,
:07:30. > :07:32.sitting in the balcony as a child, looking at the moving image.
:07:33. > :07:39.You can tell this from every frame of the movie.
:07:40. > :07:40.Emily Dickinson, she became reclusive.
:07:41. > :07:42.She got frailer, and as she got older, she
:07:43. > :07:45.lived in the same house for years and years.
:07:46. > :07:48.Is there a sense of claustrophobic about this, as a result?
:07:49. > :07:51.As in all of Terence Davies' films, one of the things he
:07:52. > :07:54.does brilliantly is writing about people whose inner lives of very
:07:55. > :07:59.Of course, what happens is, she expresses herself through poetry.
:08:00. > :08:01.At one point, she says there is posterity, I suppose,
:08:02. > :08:03.but I would like to be recognised during my lifetime.
:08:04. > :08:07.This is classic Terence Davies material.
:08:08. > :08:08.People trapped in slightly claustrophobic, slightly
:08:09. > :08:10.suffocating circumstances but with these vibrant inner lives.
:08:11. > :08:12.As I said, the thing to remember is, and
:08:13. > :08:16.I think the poster has tried to play this up: it is very funny.
:08:17. > :08:21.It is also tragic and spiritual and transcendent.
:08:22. > :08:23.But think about it in a week in which
:08:24. > :08:26.you have this, and you have I'm Not Your Negro, and Raw.
:08:27. > :08:28.You have the full smorgasbord of cinema right
:08:29. > :08:32.there, and I want you to see all three of those films because I think
:08:33. > :08:34.you will find something in all three of them, including Raw.
:08:35. > :08:36.That's my task for the weekend ahead.
:08:37. > :08:40.Best out, she said, moving on swiftly?
:08:41. > :08:42.Something I think is really good fun although it's
:08:43. > :08:44.proving very divisive is Ben Wheatley's Free Fire.
:08:45. > :08:47.It is a kind of absurdist action movie, all entirely set in a
:08:48. > :08:50.warehouse with a group of entirely incompetent and unsympathetic
:08:51. > :08:54.characters, taking potshots at each other.
:08:55. > :08:58.It's like they have taken the central idea which is the shoot
:08:59. > :09:01.out at the end of a film, what if you
:09:02. > :09:05.Fantastic cast, Brie Larson, Cillian Murphy, Armie Hammer.
:09:06. > :09:09.Again, much funnier than you would expect
:09:10. > :09:15.I will have to take your word on that one.
:09:16. > :09:17.DVD, for anyone who wants to stay in?
:09:18. > :09:20.Moana, which is proper classic modern Disney.
:09:21. > :09:23.It's the story about a young Polynesian adventurer, who
:09:24. > :09:27.sets out into the ocean in order to save her homeland.
:09:28. > :09:30.Wonderful songs, absolutely just jaw-dropping animation.
:09:31. > :09:36.A film made with real love and affection, that you can
:09:37. > :09:45.Is it aimed at children, but actually it is one of
:09:46. > :09:49.I think like all the best kids movies, it's
:09:50. > :09:52.If you think of Inside Out, or Mary Poppins.
:09:53. > :09:55.Films that anyone of any age can sit down
:09:56. > :09:59.I will probably discover now that my nieces
:10:00. > :10:07.A quick reminder that you can find all the
:10:08. > :10:14.film news and reviews from across the BBC online.
:10:15. > :10:16.The usual address: You can also find all our previous
:10:17. > :10:19.You can also find all our previous
:10:20. > :10:23.I have my tasks for the weekend, enjoy your cinema-going.
:10:24. > :10:25.Thanks for watching and see you soon.
:10:26. > :10:42.We will have a look at the Easter weather forecast and just a moment,
:10:43. > :10:44.one thing I can tell you straightaway is that it wouldn't be
:10:45. > :10:45.as warm as