:00:00. > :00:00.after reaching Richard Gasquet. All of that in Sportsday at 6:30pm. Now
:00:00. > :00:16.on BBC News it is time for The Film Review.
:00:17. > :00:19.Hello and welcome to The Film Review on BBC News.
:00:20. > :00:21.To take us through this week's cinema releases is Mark Kermode.
:00:22. > :00:35.We about, we have Brooklyn, the new
:00:36. > :00:43.film starring Saoirse Ronan. We have Kill Your Friends, the tale of the
:00:44. > :00:51.90s music industry. And Burnt, shouting chefs, who knew! ? Shouting
:00:52. > :00:55.chefs. Saoirse Ronan is 21 years of age, can you believe that?
:00:56. > :00:59.Astonishing, remember when she was nominated for Best Supporting
:01:00. > :01:04.Actress Oscar for Atonement, since then she has frankly not put a foot
:01:05. > :01:08.wrong. Brooklyn is an adaptation of a novel, adapted by Nick Hornby who
:01:09. > :01:11.did the screenplay and he's done a brilliant job. It's difficult taking
:01:12. > :01:15.a book which is so subtle and putting it on that screen and he has
:01:16. > :01:20.done it brilliantly. The story is of a young woman in the early 50s who
:01:21. > :01:24.finds herself almost unwittingly away to America. Her sister
:01:25. > :01:28.organised it because she thinks she needs to go and she arrives in
:01:29. > :01:31.America and she is understandably homesick, she longs for her mother
:01:32. > :01:35.and her sister she left behind. Initially she feels like a fish out
:01:36. > :01:39.of water in this new world of strange colours, strange buildings.
:01:40. > :01:44.However, she starts to find her feet after meeting a very nice decent
:01:45. > :01:49.young man, an Italian who she meets, oddly at an Irish dance. This gives
:01:50. > :01:52.her perhaps a reason to stay, and also becomes the centre of dinner
:01:53. > :02:07.table conversation. Here is a clip. What is the matter with you girls?
:02:08. > :02:13.Nothing is the matter with us. Is this because he Liz has a young man
:02:14. > :02:19.-- Phyllis has a young man. Does -- Phyllis has a young man. Does
:02:20. > :02:23.Phyllis have a young man? I met him on Saturday when he called for Eilis
:02:24. > :02:28.and he is a gentleman. Will you tell us what you know about him crushed
:02:29. > :02:34.amuck he is nice looking. I didn't like his shoes. What on earth is
:02:35. > :02:40.wrong with his shoes? They were a funny colour. I'm going to give you
:02:41. > :02:44.a sermon on the dangers of giddiness, I can see that giddiness
:02:45. > :02:48.is the eighth deadly sin. A giddy girl is every bit as evil as a
:02:49. > :02:56.slothful man and the noise she makes is much worse. Enough!
:02:57. > :03:00.That is obviously a terrific performance. The reason she is able
:03:01. > :03:04.to get away with that fairly broad performance is because at the centre
:03:05. > :03:09.of the film is Saoirse Ronan who is perfectly cast and also understated.
:03:10. > :03:15.She has an extraordinary ability. Firstly her vocal inflections are
:03:16. > :03:20.absolutely brilliant. She speaks with the tiny facial expressions.
:03:21. > :03:24.Everything is gesture led, the way she blinks, the weight she smiles of
:03:25. > :03:29.the way she stands and tells you about her character. -- the way she
:03:30. > :03:32.smiles. We see her go from being Summer Rae who is a daughter in
:03:33. > :03:36.Ireland with a history to somebody in America with a future but she
:03:37. > :03:40.called back to Ireland and finds herself torn between two states.
:03:41. > :03:46.Where does her life belong? She's also torn between two suitors, and
:03:47. > :03:49.who seem like perfectly sensible potential partners. What I love
:03:50. > :03:54.about the film is this: Firstly it's not scared to be a big US. It harks
:03:55. > :03:58.back to the classic what they refer to as women's pictures in the 1930s,
:03:59. > :04:02.40s and dishonest in the 1930s, 40s and dishonoured standard are
:04:03. > :04:05.essentially about emotional life but not overwrought melodrama is. This
:04:06. > :04:09.is not a film about great big emotional catastrophes. A strong
:04:10. > :04:17.woman's part with a lot of others. Whole of the supporting cast is
:04:18. > :04:23.terrific, Jim Broadbent. But at the centre of it all is Eilis's journey,
:04:24. > :04:26.which we see modulated brilliantly by Saoirse Ronan. I have to say the
:04:27. > :04:30.difficulty with the film is not one of those films that shouts its
:04:31. > :04:34.virtues from the rooftops, because all of its real pleasures are small
:04:35. > :04:38.moments, small details. It is very understated. It has a beautiful
:04:39. > :04:41.score, one of those scores that engages your emotions without
:04:42. > :04:45.feeling like somebody is laying it on with a trowel, the costume
:04:46. > :04:51.design, the hair and make-up, the way they use Montreal for New York
:04:52. > :04:55.is well done. Saoirse Ronan is one of the best things I've seen on
:04:56. > :04:58.screen in ages. She is quite simply one of the most magnetic screen
:04:59. > :05:04.presence is currently working in cinema. It is just the subtlety of
:05:05. > :05:09.modulation. It is saying so much with so little. Please go and see
:05:10. > :05:15.it, it is really worth seeing. Kill Your Friends.
:05:16. > :05:19.Yes! Slightly different! Remember American Psycho. I remember it in
:05:20. > :05:25.all sorts of ways. Mary Haran did an interesting screen
:05:26. > :05:30.adaptation of it and this is basically English Psycho, set in 90s
:05:31. > :05:34.Britpop era. It is adapted by John Niven who sort of -based it to some
:05:35. > :05:39.extent on some autobiographical experiences. It is a dark satire on
:05:40. > :05:46.being an ANR man, Nicholas Hoult is this lonesome character, venal,
:05:47. > :05:49.talentless, and worse than that he is kind of boring. The film raises
:05:50. > :05:53.the question of why we would want to spend time in his company. We talked
:05:54. > :05:57.about this on of Wall Street. In the case of American Psycho the genius
:05:58. > :06:01.of what Mary Haran did with the Patrick payment character is the
:06:02. > :06:04.visual wit and invention of the film may get access of them even though
:06:05. > :06:08.you loathe him you enjoyed the film. In the case of this it seems to be
:06:09. > :06:12.an awful lot of spending time with somebody who is loathsome and
:06:13. > :06:15.obnoxious. What does it tell us? It tells us that music industry
:06:16. > :06:17.executives in the 90s were not interested in art but they were
:06:18. > :06:23.interested in money. Corporate dullness! I'm shocked! I can tell
:06:24. > :06:29.that you are stunned. I think we should move on. Burnt, which I have
:06:30. > :06:33.not seen, sounds to me like it may be a Gordon Ramsay documentary with
:06:34. > :06:39.a beard, I have no idea. But it sounds interesting. Sadly it's not.
:06:40. > :06:43.The story is basically an obnoxious shout each chef who has Burnt all of
:06:44. > :06:47.his bridges in France, see what they did there, turns up in London clean,
:06:48. > :06:51.no longer an addict and still obnoxious and shouting and sets up
:06:52. > :06:54.at the Langham where he wants to get the extra Michelin-starred and
:06:55. > :06:57.redeem himself. He gets a team of colleagues, old and new, some of
:06:58. > :07:01.whom used double-crossed in the past but he gets them all together and
:07:02. > :07:04.then does a lot of being obnoxious in the kitchen and we are meant to
:07:05. > :07:08.think that is OK, he's a genius chef and he knows that cooking is about
:07:09. > :07:11.more than eating. Every now and again the film stops to explain in
:07:12. > :07:13.very clear terms how Michelin-starred is workforce that
:07:14. > :07:23.this is proper telegraphing. Here we go. Do you know about Michelin? It
:07:24. > :07:31.is a book. It is the book, the Bible. Inspectors eat and award
:07:32. > :07:34.stars, one, two and three. Or none. No one knows who they are, they
:07:35. > :07:37.come, they, they go but they have had its. Have to stick to a routine
:07:38. > :07:42.to give every restaurant the same chance. Miss Lynn men eat in pairs.
:07:43. > :07:47.Sometimes the Michelin man can even be a woman. A book table before
:07:48. > :07:51.7:30pm. The first arrives at the bar, his partner arrives half an
:07:52. > :07:54.hour later, one has the tasting menu at the other a la carte, always.
:07:55. > :07:57.They order half a bottle of line, they has to tap water and where
:07:58. > :08:01.business suits and they are polite but they may place a full under the
:08:02. > :08:04.floor under the table to seek if you notice and they will not drop it
:08:05. > :08:07.because it could make a noise and that would be too easy. Everything
:08:08. > :08:13.must be perfect from now on, not good, not are excellent but perfect.
:08:14. > :08:18.Does that turn out to be important later in the film? Bradley Cooper
:08:19. > :08:22.came in and they shifted in their chairs, that is directing! Terrific
:08:23. > :08:25.supporting cast largely wasted, Sienna Miller whose career
:08:26. > :08:31.reconnaissance continues but Emma Thompson pretty much wasted, loads
:08:32. > :08:36.of high-profile cameos which you wonder why they are there. The idea
:08:37. > :08:40.of the shouted, obnoxious, swaggering chef who is rude to
:08:41. > :08:45.everybody is so ten years ago. Haven't we grown out of that? I'm
:08:46. > :08:49.bored at the thought, I'm afraid. You will have avoided those
:08:50. > :08:52.programmes on television because of somebody being shouting and
:08:53. > :08:54.obnoxious in the kitchen is not that interesting. The film obviously had
:08:55. > :08:59.a slightly tortuous creation process. It has gone through three
:09:00. > :09:03.name changes, it started out being called Chef, it changed because
:09:04. > :09:09.there is a Jon Favreau film called Chef, which is much better! I know
:09:10. > :09:12.that you are doing missionary activity but Iranians films are
:09:13. > :09:20.fascinating, not least because I just did a check and I thought that
:09:21. > :09:25.when I was in Tehran there was one Muller who was blind and had the
:09:26. > :09:28.film read out to him by an aide and questioned it and then decided
:09:29. > :09:32.whether it would get a certificate. According to Google there is now two
:09:33. > :09:37.of them doing it. That shows why film-makers in Iran are doing an
:09:38. > :09:41.extraordinary job. The extraordinary thing is, I think this is the third
:09:42. > :09:47.feature made since the 20 year film making ban, two of them were made
:09:48. > :09:50.under house arrest. Thing about it was it did feel like somebody who
:09:51. > :09:54.was starting to crack under the strain of their sick instances. In
:09:55. > :10:00.the case of taxi Tehran it was a much more vibrant work and won the
:10:01. > :10:04.Golden Bear at Berlin which caused all manner of international
:10:05. > :10:08.incidents, it did very well internationally. He's in a taxi and
:10:09. > :10:10.drives around and picks up passengers, actors as it turns out
:10:11. > :10:15.but it has such a naturalistic feel that you spend time wondering
:10:16. > :10:20.exactly how this pans out, and what it does is, as with all of his
:10:21. > :10:24.stuff, it has humour and wit but it is also an insightful portrait of
:10:25. > :10:29.current data ran command the most brilliant thing about it, people
:10:30. > :10:31.talk about film-makers making movies under difficult circumstances. This
:10:32. > :10:36.is making films under difficult circumstances. The fact it has
:10:37. > :10:44.become an award winner, I want people to see it, because this is
:10:45. > :10:54.what film-making difficulty is. The DVD is Celtic myth. It is from Tomm
:10:55. > :11:01.Moore, it was Oscar-nominated last year and it was a fantastic set of
:11:02. > :11:04.Oscar-nominated and is. It can be watched by anyone, young and old
:11:05. > :11:13.alike. Crucially the music plays an important part. I thought it was a
:11:14. > :11:16.real gem. We began with a gem and ended with a couple of gems, that is
:11:17. > :11:22.not bad. Are reminded that Before We Go you will find more film news and
:11:23. > :11:29.reviews from across the BBC online including all of our previous shows.