:00:00. > 3:59:59found dead in DNR me I walked for. It's not immediately clear how they
:00:00. > :00:23.died. -- in Vietnam. Hello, and welcome to The Film
:00:24. > :00:26.Review on BBC News. To take us through this week 's cinema releases
:00:27. > :00:29.is Mark Kermode. What do we have?
:00:30. > :00:36.Secret In Their Eyes, a remake of the Argentinian award winner.
:00:37. > :00:41.We have The Forest, a wannabe creepy horror movie.
:00:42. > :00:47.And Grimsby, the latest from Sacha Baron Cohen.
:00:48. > :00:50.Now, Grimsby sounds like an interesting trait, but we will start
:00:51. > :00:54.with secrets in their eyes. It's a remake of an Argentinian film that
:00:55. > :01:03.won the best skirt -- which won the Best foreign language Oscar. It
:01:04. > :01:07.moves the action of 1970s Argentina to 20th-century America.
:01:08. > :01:11.We begin with Chiwetel Ejiofor's former FBI investigator scanning
:01:12. > :01:14.facial images on a screen. It's an interesting opening, through the
:01:15. > :01:20.screen you see faces reflected in his glasses, he sees something and
:01:21. > :01:24.it's obvious he's found something. He goes to Nicole Kidman's district
:01:25. > :01:30.attorney, he's not seen her in a while, he wants her to reopen the
:01:31. > :01:35.case on what looks like shaky foundations. He meets his former
:01:36. > :01:49.colleague, played by Julia Roberts. Here is a clip. Jess. Jesus, how are
:01:50. > :01:55.you? How are you? I'm good. How you? I'm fine. I was just
:01:56. > :02:02.congratulating... Well, you made chief investigator, right? I'm
:02:03. > :02:07.looking at royalty here! Are you still living in Moorpark? Yes, it is
:02:08. > :02:19.quite out there but I like the quiet. I used a bureau? No, I went
:02:20. > :02:30.private sector. -- are you still. I will let you to... No, state police.
:02:31. > :02:37.It's about you. -- no, state police. I found him, Jess. I found Martin.
:02:38. > :02:41.What he thinks he has found is the perpetrator of a hideous crime that
:02:42. > :02:48.joins them together from 13 years ago. The film slips backwards and
:02:49. > :02:54.forwards between 2002 and 2015. It's about obsession, loss, and mirrors
:02:55. > :02:58.and changes from the original. If you are a fan of the original, it's
:02:59. > :03:03.likely you won't find a lot in here that will delight and entertain. It
:03:04. > :03:07.does not have the classic quality of the original. But, it does have a
:03:08. > :03:11.couple of good performances. Chiwetel Ejiofor manages to carry
:03:12. > :03:14.the weight of making a story that does not quite gelled together.
:03:15. > :03:23.They've taken the political context from the first film and transposed
:03:24. > :03:27.it to post nine slash 11 America. It makes you just about believe in the
:03:28. > :03:34.structure of the story. The heart and soul of it is Julia Roberts --
:03:35. > :03:38.9/11 America. She is terrific. She embodies the grief of the story, the
:03:39. > :03:42.possession of the story and the anguish. She really becomes the
:03:43. > :03:47.centre of it. There is meant to be a boiling tension a passionate tension
:03:48. > :03:51.between Chiwetel Ejiofor and Nicole Kidman's character, but it never
:03:52. > :03:57.came together for me. When you compare it to the passion in the
:03:58. > :04:03.original, it is lacking. But, I think Julia Roberts's performance is
:04:04. > :04:09.worth the price of admission. Never rewrite a hit, when you see a number
:04:10. > :04:14.of Swedish Noir films in Hollywood, they aren't as good? No, what has
:04:15. > :04:18.happened is the transition has happened to make it available to an
:04:19. > :04:24.English-speaking multiplex audience. When you see it as a multiplex
:04:25. > :04:26.thriller, it is fine. It is an uneven drama, but Julia Roberts
:04:27. > :04:33.actually did hold it together. And, I could honestly watch Chiwetel
:04:34. > :04:37.Ejiofor reading the phone book. He has a way of convincing you, even
:04:38. > :04:41.when something is not hanging together, you believe in it because
:04:42. > :04:51.you believe in him. For the performances, it is passingly...
:04:52. > :04:56.The Forest. It's a horror movie based in Aokigahara forest. The
:04:57. > :04:59.story is Natalie Dormer is Sarah Price, and discovers her twin has
:05:00. > :05:03.gone into The Forest. She's told if you go into The Forest, you won't
:05:04. > :05:09.return. She goes off to The Forest in search of her. The film becomes a
:05:10. > :05:15.walking tour of horror trope. You go OK, that is the setting, then there
:05:16. > :05:18.are the tents that go bump in the night from the Blair witch Project.
:05:19. > :05:26.There are elements of the cabin in the woods. I'm not feeling it! Here
:05:27. > :05:32.is the thing, if you have not seen any of those horror films, as a mid
:05:33. > :05:38.range to luck, it would do fine. But, it has a terribly touristy feel
:05:39. > :05:42.to it. There's nothing in there that has any originality whatsoever.
:05:43. > :05:48.It is utterly mechanical. I've seen far worse. But it is an memorable in
:05:49. > :05:53.the extreme. I've seen far worse! That's going on the poster! I cannot
:05:54. > :05:59.stand horror films where a group of people are told not to do something
:06:00. > :06:05.and they are really -- as it is really stupid and bad, and they do
:06:06. > :06:16.it anyway. You have seen Screen. This is forgettable. The Forgettable
:06:17. > :06:23.Forest would be a better name. -- Scream. Grimsby. How do you find
:06:24. > :06:28.Sacha Baron Cohen? I'm open to it, I can see why it is possibly offensive
:06:29. > :06:32.to anyone in Grimsby. You don't attack people's towns. That is one
:06:33. > :06:42.of the things that has been raised. The story is his character is called
:06:43. > :06:46.Nobby, he lives in Grimsby and walks around in his underpants. His
:06:47. > :06:50.brother is a spy agent, and they end up together, they had to hole up
:06:51. > :06:58.together in Grimsby. Next thing, they are both taking part in the
:06:59. > :07:20.super spy action. Here is a clip. Goodbye, Nobby. Don't worry, I won't
:07:21. > :07:26.leave you! My ankle! Get off me! My ankle has shattered. You'll need to
:07:27. > :07:35.carry me. Get over my shoulder. Sorry! Getting! You'll have to
:07:36. > :07:43.drive. Get going. Don't worry, it's bullet-proof. You can't hit us, we
:07:44. > :07:50.have bullet-proof glass. You laugh... Three times! There we go. I
:07:51. > :07:57.had to say it is three more than me! My problem is, when the director is
:07:58. > :08:02.doing action sequences, he's quite good, but as far as I'm concerned,
:08:03. > :08:06.he does not have a particular eye or ear for comedy. I love Mark Strong,
:08:07. > :08:12.I think him keeping a straight face is fairly impressive. What you don't
:08:13. > :08:18.get from that clip is that as the central idea begins to wear thin,
:08:19. > :08:27.they build up the toilet humour. It's not just bums, but its toilets
:08:28. > :08:32.and bodily fluids, and elephants... Elephants? I'm not even going to
:08:33. > :08:38.begin... It becomes a symphony of grotesquerie. My problem with it is
:08:39. > :08:43.that I'm never very impressed by gross humour. I just don't find it
:08:44. > :08:50.very funny. There are some critics who really like it. Oddly enough,
:08:51. > :08:58.amidst the bodily fluids and excretion, all of that stuff,
:08:59. > :09:02.there's a weird sentimental side to the film, which either offsets or
:09:03. > :09:07.jars with the rest of the film, depending on how you feel. My
:09:08. > :09:13.feeling generally is that the more desperate the desire to outrage, the
:09:14. > :09:19.more the thing falls flat. To be honest, I did not laugh. I sat in a
:09:20. > :09:23.public screening of it, it was about half full. Some people laughed a
:09:24. > :09:28.little but nothing like as much as they should have done. As I was
:09:29. > :09:33.coming out, somebody said "How many times can you make the same joke in
:09:34. > :09:39.one movie?" The answer is very many times indeed. I would be interested
:09:40. > :09:45.to hear what you think. I think you would find 25 minutes, and your
:09:46. > :09:52.patients would be worn out. I may just get the Minions DVD out! It is
:09:53. > :09:59.funny! I don't find people try to shock and offend me funny. We've
:10:00. > :10:04.gone from elephants to Brands. That's your best of the week. I will
:10:05. > :10:09.stop banging on about this, that it is such an interesting film -- Rams.
:10:10. > :10:13.A black comedy, two brothers are separated and they have to join
:10:14. > :10:20.together when their sheep are threatened after an outbreak of a
:10:21. > :10:25.disease. It's deadpan, the more I think about it, the more I like it.
:10:26. > :10:29.Tragicomic. It's great to look at. Worth seeing in the cinema. Later
:10:30. > :10:33.people have come to me and said they've seen it, they really like
:10:34. > :10:44.it. They've come to me as well. There is not going to be a Hollywood
:10:45. > :10:50.remake! With Julia Roberts! Your DVD is Brooklyn. It is a great film. It
:10:51. > :10:55.was is really lovely. I suspect it will come away from the Oscars
:10:56. > :10:59.empty-handed, but I think it is a brilliant adaptation of the book.
:11:00. > :11:03.Saoirse Ronan is brilliant in the central role of an Irish girl who
:11:04. > :11:08.goes to America and finds herself torn between two countries. The film
:11:09. > :11:16.was a hard sell. Grimsby has Sasha Baron Cohen, the other Nicole
:11:17. > :11:20.Kidman, Brooklyn is a hard film to sell but I am yet to find someone
:11:21. > :11:25.who has not loved it who has seen it. You loved it as well? It was
:11:26. > :11:34.very moving, a very nice film. That and Rams.
:11:35. > :11:37.Then you can give Grimsby a pass! For more information, go to the
:11:38. > :11:41.website. That's all for this week, thank you
:11:42. > :11:48.for watching, enjoy the movie. Goodbye.
:11:49. > :11:54.Perhaps it was an afternoon to stay in watching movies today, if you
:11:55. > :11:58.live in Cornwall, let me show you one of the weather Watchers pictures
:11:59. > :11:59.sent in from here. Pretty bleak, it a lot