:00:19. > :00:23.Hello and welcome to the Film Review on BBC News.
:00:24. > :00:26.To take us through this week's cinema releases is Mark Kermode.
:00:27. > :00:41.A very mixed bag, we have Logan, a superhero movie that is not really a
:00:42. > :00:47.superhero movie. Viceroy's House, a handsome period drama from Gurinder
:00:48. > :00:52.Chadha. And Certain Women, the latest low-key offering from Kelly
:00:53. > :00:57.Reichardt. So Wolverine, back with us. In a way, that missiles it, so
:00:58. > :01:03.this is basically a superhero movie that isn't about superheroes, it is
:01:04. > :01:09.about ageing and arthritis and growing old. Wow, I am already
:01:10. > :01:13.surprised! It is an X-Men movie for people who prefer westerns to comic
:01:14. > :01:18.book adaptations. Dead in a not too distant future in which the Hugh
:01:19. > :01:23.Jackman character, will bring, is making a living as a limo driver. He
:01:24. > :01:30.is looking wretched, bloodshot eyes, and he is looking at their Patrick
:01:31. > :01:33.Stewart's Charles Xavier, who has a degenerative brain disease in the
:01:34. > :01:37.most dangerous brain in the world. They are living off the grid, trying
:01:38. > :01:39.to keep themselves to themselves, or at least that is what they are
:01:40. > :01:40.trying to do. Hey, Carl, it looks
:01:41. > :01:44.like Mr Munson hired some muscle. Friend with a big mouth.
:01:45. > :01:50.I hear that a lot. I'm going to count to three, and
:01:51. > :02:01.you're going to start walking away. One.
:02:02. > :02:04.I have a lawyer now. You know the drill,
:02:05. > :02:23.get the hell out of here. Now, the interesting thing about the
:02:24. > :02:27.film is, often with the superhero comic book franchise is, you know
:02:28. > :02:33.exactly where you are. This is such a different beast, the plot involves
:02:34. > :02:39.a young girl who Logan Byndom is of having to take care of, he is forced
:02:40. > :02:44.to do so by circumstances. -- finds himself. The real themes of violence
:02:45. > :02:49.and redemption, there is a big Western theme, it refers again and
:02:50. > :02:52.again to Shane, Clint Eastwood's And forgiven. There is a line that
:02:53. > :02:57.recurs, there is no living with the killing. Some of the violence does
:02:58. > :03:05.involve a young child, it is bloody and brutal and properly shocking.
:03:06. > :03:09.Like Deadpool, this is a 15 certificate, it is not for kids. But
:03:10. > :03:13.unlike Deadpool, it is not played for laughs, it is a film about what
:03:14. > :03:16.happens when you get old, when you are trying to make sense of your
:03:17. > :03:21.life, when you are trying to find some kind of redemption in a world
:03:22. > :03:25.which is fundamentally broken. As I said, when you talk about those
:03:26. > :03:29.things, the Western theme keeps coming back. There is violence,
:03:30. > :03:36.quite surprisingly and is. And that is the bit that puts me off. But it
:03:37. > :03:40.has context and meaning, and it has pain, it doesn't just feel exciting,
:03:41. > :03:45.it feels like there is genuine pain. When you think that we have seen so
:03:46. > :03:49.many of these movies in which entire cities are merrily wiped out and you
:03:50. > :03:54.don't feel anything at all, in this you do. No-one was more surprised
:03:55. > :03:57.than me, it is directed by James Mangold, obviously, a really fine
:03:58. > :04:00.piece of work that stands on its own, and you don't have to have seen
:04:01. > :04:07.all loved the other films, you should give it a. OK. The next one I
:04:08. > :04:11.want to like, because I really like company macro's work. And I do like
:04:12. > :04:20.it, it is a handsome period drama which blends history and personal
:04:21. > :04:27.drama. You have Hugh Bonneville and Gillian Anderson as Lord and Lady
:04:28. > :04:31.Mountbatten. The story is told through the prism of the people who
:04:32. > :04:35.are working in the household, so whilst upstairs you have dignitaries
:04:36. > :04:38.and politicians arguing about the fate of nations, downstairs you have
:04:39. > :04:42.all these different characters whose fates seem to reflect those of the
:04:43. > :04:47.larger end Byron. There is a Romeo and Juliet romance at the heart,
:04:48. > :04:56.which was a false move, it never really gelled for me. It looks like
:04:57. > :05:01.Gurinder Chadha wanted to make a popular, mainstream drama, that
:05:02. > :05:04.would work for a multiplex audience, that would be entertaining, and I
:05:05. > :05:10.think she has done that. I know that some people have complained that the
:05:11. > :05:12.film plays to the gallery, it is so simple, broad strokes characters,
:05:13. > :05:18.but I think that she has understood what the audience needs, and she has
:05:19. > :05:22.managed to delay complicated story in a way which is accessible.
:05:23. > :05:26.Obviously, it is a particular take on that story, but I was
:05:27. > :05:31.surprisingly charmed, because it is a movie that has that right cheeky
:05:32. > :05:34.wit, which are a lot of the stuff does, even among these complex
:05:35. > :05:42.historical events which are often so brutal. Certain Women, I don't know
:05:43. > :05:47.much about it, quite a cast. It is great, Kelly Reichardt, this is a
:05:48. > :05:51.triptych of tales by Maile Meloy, and they are put together in one
:05:52. > :05:56.film, and the stories intertwine, but only slightly. In one of them,
:05:57. > :06:00.Laura Dern is a lawyer who has a client who has an old Casey keeps
:06:01. > :06:03.coming back to, cannot move on from it. Michelle Williams is attempting
:06:04. > :06:08.to build a dream house while her life and marriage is falling apart.
:06:09. > :06:11.In the third, Kristen Stewart and Lily Gladstone are a teacher and a
:06:12. > :06:17.rancher who strike up an unlikely friendship, here is a clip.
:06:18. > :06:30.I took this job before I finished law school. I wanted any job,
:06:31. > :06:33.family, loans coming through. I guess I was thinking about Belgrave,
:06:34. > :06:51.which is a lot closer. So stupid. Then I got a real job. And they are
:06:52. > :06:59.letting me do this because they think it is funny. It takes me four
:07:00. > :07:01.hours to get here, it is going to take the four hours to get back. I
:07:02. > :07:09.have to work in the morning. You can tell from that, the tone of
:07:10. > :07:18.the film seems to be, remember that famous quote about Waiting For
:07:19. > :07:21.Godot? Nothing happens twice? In this film, nothing happens three
:07:22. > :07:25.times, but an awful lot is happening when nothing is happening. It is the
:07:26. > :07:29.looks which are saying more than the dialogue, and what I like about
:07:30. > :07:33.this, Kelly Reichardt was a film-maker who works on mood, long
:07:34. > :07:37.shots, you believe in these characters absolutely, and the story
:07:38. > :07:41.is not evident immediately, you have to give its time, let it settle. It
:07:42. > :07:47.is a film I want to see again. The performances are fantastically
:07:48. > :07:50.naturalistic, you do believe in the characters, sometimes to the point
:07:51. > :07:53.where you think, I am going to stay with them for a while, even though I
:07:54. > :07:57.am not sure whether narrative thread is going. Over the course of the
:07:58. > :08:01.drama, it does have a cumulative affect, but so much of it is to do
:08:02. > :08:05.with the tone of the atmosphere, you know, the way in which people look
:08:06. > :08:09.at each other, the environment in which they find themselves, the
:08:10. > :08:12.isolation, the way in which they do or do not relate to the other
:08:13. > :08:17.characters around them and the landscape. That is a very hard sell,
:08:18. > :08:21.you are not going to put that on a movie poster, the way you may or may
:08:22. > :08:24.not relate to the people and the landscape around you! But it is a
:08:25. > :08:30.film that you have to meet halfway, but she is a superb director, great
:08:31. > :08:34.performances. It sounds intriguing to me, that put it on my list, for
:08:35. > :08:38.sure. And can there be any doubt about film of the week? Moonlight is
:08:39. > :08:43.the best thing in cinemas at the moment, the best thing I have seen
:08:44. > :08:47.in a very long time. It won the best picture Oscar, and when was the last
:08:48. > :08:52.time that the best film of the actually won the Oscar for best film
:08:53. > :08:58.of the year? Finally it happens! It is so brilliant that it did, Barry
:08:59. > :09:02.Jenkins has done a brilliant job, a coming-of-age story, a triptych,
:09:03. > :09:06.three periods in the same character's life, played by three
:09:07. > :09:10.different actors. It is about a tough life, but it has got immense
:09:11. > :09:14.beauty, wonderful soundtrack, it looks fabulous, you really believe
:09:15. > :09:17.in the characters, it is tactile, sensuous and strange and
:09:18. > :09:22.adventurous. And everything that you want a movie to be. Everything about
:09:23. > :09:26.it says, this is great, no way this will win big at the awards, and it
:09:27. > :09:31.did, and it is such a brilliant thing, I am so pleased for Barry
:09:32. > :09:34.Jenkins. He is still a very young director, and you don't realise
:09:35. > :09:39.that, in movie terms, it was made on a berry small budget. Absolutely
:09:40. > :09:44.tiny, and it is one of those demonstrations that it is not about
:09:45. > :09:48.your resources, it is about passion, commitment and talent. This is a
:09:49. > :09:52.low-budget movie, when you compare what it is up against, and it is
:09:53. > :09:58.really wonderful. You talk about passion and it meant, that takes us
:09:59. > :10:03.to the DVD. I, Daniel Blake, it was overlooked by the Academy, and it is
:10:04. > :10:06.a great shame that it was, unbelievably powerful, directed by
:10:07. > :10:15.Ken Loach, great performances, and the story which basically has a
:10:16. > :10:18.message, the message being that bureaucracy can be used as a tool of
:10:19. > :10:23.oppression. That doesn't sound like it will make for great drama, but it
:10:24. > :10:27.does, it is about characters that you like and care about, and it has
:10:28. > :10:29.got a foodbank sequence that is one of the most perfect pieces of
:10:30. > :10:34.film-making, understated film-making. The cameras stay a long
:10:35. > :10:39.way away from the character, they watch the action play out in real
:10:40. > :10:43.time, and it is so powerful. So moving. It is not just that it has a
:10:44. > :10:48.message, the way in which tells the story is powerful. As a piece of
:10:49. > :10:52.film-making, it is really brilliant. I, Daniel Blake is out on DVD if you
:10:53. > :10:58.don't want to go to the cinema, stay at home and watch and possibly sob!
:10:59. > :10:59.It is a good week in all those varieties.
:11:00. > :11:02.A quick reminder before we go that you'll find more film news
:11:03. > :11:05.and reviews from across the BBC online at bbc.co.uk/film.
:11:06. > :11:09.And you can find all our previous programmes on the BBC iPlayer.
:11:10. > :11:35.Good evening. We saw a fair bit of cloud and rain through the day, all
:11:36. > :11:39.working northwards, and this was a picture taken not so long ago by one
:11:40. > :11:42.of our Weather Watchers in Barnsley, big puddles in the garden, and we
:11:43. > :11:43.are expecting