:00:00. > :00:00.places above Edmund. And we will keep you up-to-date with the second
:00:00. > :00:09.t20 International for England against Pakistan. Now it is time to
:00:10. > :00:18.the film review. -- now it is time for the Film Review.
:00:19. > :00:22.Hello and welcome to the Film Review on BBC News.
:00:23. > :00:26.To take us through this week's cinema releases is Mark Kermode.
:00:27. > :00:37.We have got stunners this week? We are in award season, we have Bridge
:00:38. > :00:44.of Spies, Tom Hanks and Steven Spielberg and Mark Rylance. We have
:00:45. > :00:50.The Good Dinosaur, the latest from Pixar. And Carol, Cate Blanchett,
:00:51. > :00:58.Shreck, Todd Haynes and Patricia Highsmith, what more could you want?
:00:59. > :01:06.-- Rooney Mara. The most trusted American according to one poll? This
:01:07. > :01:12.is the cold war movie in which Tom Hanks was inspired by a true story.
:01:13. > :01:17.James Donovan is enlisted early on to defend someone who has been
:01:18. > :01:25.charged with being a Soviet spy, played by Mark Rylance. Initially he
:01:26. > :01:30.is not keen. Here is a clip. OK, here's the thing, the Soviets want
:01:31. > :01:41.you to defend the spy. Here is the indictment. Wow. I'm not sure I want
:01:42. > :01:45.to pick that up. The accused does not know any lawyers, the federal
:01:46. > :01:50.court tossed him into our lap. You are the unanimous choice. It is
:01:51. > :01:55.important to the country that this man is seen as getting a fair shake.
:01:56. > :02:00.American justice will be on trial. When you put it that way it's an
:02:01. > :02:04.honour to be asked. I'm an insurance lawyer and I have not done criminal
:02:05. > :02:10.work in years. It's like riding a bike, isn't it? I was on the
:02:11. > :02:14.prosecution team. That's not the point. You are no stranger to
:02:15. > :02:22.criminal law. The man is publicly reviled. I will be too. Yes, but
:02:23. > :02:25.that is how it has to be done and capably done. It cannot look as
:02:26. > :02:31.though the justice system tosses people on the Ashes. That looked
:02:32. > :02:36.good. It is a drama and it has elements of a thriller and comedic
:02:37. > :02:41.elements. The key phrase is seen as getting a fair trial. Once Tom
:02:42. > :02:46.Hanks's character has the bit between his teeth he starts wanting
:02:47. > :02:50.to defend him properly because he believes in the rule book. In this
:02:51. > :02:56.case the Constitution. It looks on the outside like a companion piece
:02:57. > :03:00.to Catch Me If You Can, but it is like Lincoln, defending the
:03:01. > :03:05.constitution and that the rules are good. After he has defended the
:03:06. > :03:10.alleged Soviet spy we then jump some period of time forward where there
:03:11. > :03:16.are Americans being held on the other side and he is brought back to
:03:17. > :03:20.negotiate a prisoner swap. The film then takes some of the insurance
:03:21. > :03:25.doublespeak that we saw him using in the beginning, this is a film that
:03:26. > :03:30.makes a hero of an insurance lawyer! It turns the doublespeak
:03:31. > :03:34.into a freedom mantra. This is a very Spielberg idea. And not marry
:03:35. > :03:37.man in body and everything that is best about America but doing it in a
:03:38. > :03:44.way that is firstly so reassuringly well-made. It is like sitting in a
:03:45. > :03:48.well pollsters armchair. You think that we are an hands of a master
:03:49. > :03:55.craftsman. There is superb comedy as you would expect from Hanks.
:03:56. > :04:00.Watching Mark Rylands and Tom Hanks laying together, they are from very
:04:01. > :04:06.different worlds but they're acting styles couldn't be more different. I
:04:07. > :04:12.am reminded of Eliot and ET, worlds apart! It works well on screen. In
:04:13. > :04:15.the United States, insurance lawyers are regarded as the people who stop
:04:16. > :04:21.you getting any money whatsoever, so they are not the good guys. At the
:04:22. > :04:25.very beginning we see him arguing that his client has been involved in
:04:26. > :04:31.an accident in which he has run into five motorcycles. One accident, not
:04:32. > :04:37.five, he says, but then it is turned on its head. It is very much like
:04:38. > :04:44.Spielberg. The Good Dinosaur... You know how much I love Pixar and
:04:45. > :04:49.Inside Out. Good Dinosaur has had a lot of problems, losing its original
:04:50. > :04:54.director, got rewritten, lost most of its cast, and it is a what if
:04:55. > :04:58.setup. In the beginning we saw the meteor that would have caused the
:04:59. > :05:03.dinosaurs to be extinct, but it misses the earth and then we moved
:05:04. > :05:11.to an evolved dinosaur and in an evolved human dog boy going on an
:05:12. > :05:14.incredible journey. Those photo realistic backgrounds are
:05:15. > :05:17.extraordinary but isn't it weird how they clash with the cartoon
:05:18. > :05:22.characters. This is the whole thing that Pixar said you should never do,
:05:23. > :05:26.if you start worrying about the background clashing, the story is
:05:27. > :05:30.not working. It is not to say there aren't visual delights, which there
:05:31. > :05:36.are. There are individual scenes which work and of course, it's a
:05:37. > :05:40.Pixar film. As a holy does not hang together. It does not have the
:05:41. > :05:45.timeless quality of their best. It is coming hot on the heels of Inside
:05:46. > :05:53.Out which is so perfect. Its flaws are more obvious. I know you are
:05:54. > :05:59.going to love Carol! There is nothing wrong with the film,
:06:00. > :06:03.everything is right. A superb adaptation of Patricia Highsmith's
:06:04. > :06:07.the price of salt. She catches the eye of Rooney Mara's shop
:06:08. > :06:12.assistant, something passes between them and Carol is going through a
:06:13. > :06:16.messy divorce. Rooney Mara's character is finding her feet. They
:06:17. > :06:36.start to fall in love. Here is a clip. Thank you. Enjoy. I'm starved.
:06:37. > :06:42.Bon appetit. What do you do on Sundays? Nothing in particular, what
:06:43. > :06:48.do you do? Nothing, really. Would you like to come visit me sometime?
:06:49. > :06:52.You are welcome to. At least there is pretty country around where I
:06:53. > :07:13.live. Would you like to come and visit me this Sunday? Yes. What a
:07:14. > :07:21.strange girl you are. Why? For -- flung out of space. 1950s... You can
:07:22. > :07:29.see that so much of it is about what is not said. Where do we begin?
:07:30. > :07:34.Superb script adaptation. Absolutely brilliantly done. Really uncluttered
:07:35. > :07:41.script. Wonderful cinematography by Edward Lachman. Fantastic costume
:07:42. > :07:43.design by Sandy Powell. It gives it an angular edge and it helps you
:07:44. > :07:50.through the strange character shifts. Brilliantly directed by Todd
:07:51. > :07:54.Haynes, one of those people who absolutely is a triumph of arthouse
:07:55. > :08:00.experimentalism moving into mainstream adoration. Even the
:08:01. > :08:04.editing, staying on Cate Blanchett where a lesser person would have cut
:08:05. > :08:08.away for a reaction shot. I would say more about the editing but it
:08:09. > :08:11.did exactly what it does come at you don't notice it. That is the weird
:08:12. > :08:16.thing. I love this film. It is terrific. What it manages to do is
:08:17. > :08:29.to be so many different things and it's very Todd Haynes. It has the
:08:30. > :08:34.confidence of Far From Heaven, and it is inflected with film no art,
:08:35. > :08:40.will it become a murder mystery? We have handguns in suitcases, private
:08:41. > :08:44.detectives, effectively love is the crime scene. It is all going on in
:08:45. > :08:48.the background whilst watching this forbidden love developing in a way
:08:49. > :08:55.which is warm and intelligent and compassionate. I say this so rarely,
:08:56. > :08:59.it does not put a foot wrong. At the end of it you just want to go, I
:09:00. > :09:06.will see that again because I must have missed a mistake. I was just
:09:07. > :09:09.thinking, we often talk about, and a number of people in Hollywood talk
:09:10. > :09:20.about not having strong roles for women, but that is. Some of the best
:09:21. > :09:23.films I have seen this year, ... Absolutely terrific. There is
:09:24. > :09:28.clearly an industrial problem as far as Hollywood is concerned. When you
:09:29. > :09:39.get to the independent sector, like the Carol Morleyfilm. They have to
:09:40. > :09:42.realise there is an audience. Like there is a huge audience for
:09:43. > :09:46.Brooklyn which is a film people found very hard initially to sell
:09:47. > :09:52.because it is like, how do you sell this understated story of a young
:09:53. > :09:55.woman going to America? It does not have spectacle but it has heart and
:09:56. > :10:09.soul. A fantastic central performance. Is this 50s week? ! The
:10:10. > :10:16.Good Dinosaur is a bit earlier! The Reflecting Skin. Have you seen this
:10:17. > :10:21.film? I haven't. Philip Ridley is an extraordinary film-maker who has
:10:22. > :10:34.made things like Heartless. And He Wrote The Script For The Krays. It
:10:35. > :10:42.Is About A Young Boy Who Is Obsessed With Vampires. It Is Almost
:10:43. > :10:46.Impossible To Explain. It won a lot of genre prizes. Now looking at it
:10:47. > :10:52.again, it is one of those things when people refer to coralled movies
:10:53. > :10:58.-- cult movies, often it sets out to be but this is just a weird piece of
:10:59. > :11:02.work. It has found its audience or at least that is what a proper cult
:11:03. > :11:08.movie looks like. Variety did not like it when it came out. It has
:11:09. > :11:13.been a great week. It has. It is the season to be jolly! On that happy
:11:14. > :11:21.note, quick reminder that you can find more film news online.
:11:22. > :11:22.Including our previous shows. That's it for this week. Thanks for
:11:23. > :11:26.watching. Goodbye.