:00:00. > :00:00.our FA Cup sports day. Non-BBC News, it's time for the film really. --
:00:00. > :00:17.now on BBC News, it's time for The Film Review.
:00:18. > :00:22.Hello and welcome to The Film Review on BBC News.
:00:23. > :00:24.To take us through this week's cinema releases is Mark Kermode.
:00:25. > :00:35.As I'm sure you must have noticed, there is a new Pirates Of The
:00:36. > :00:41.Caribbean movie coming into cinemas. Why? LAUGHTER
:00:42. > :00:55.Baywatch goes from small screen to big screen. And we are shown on the
:00:56. > :00:59.other side of hope. Let's kick off with the Paris of the Caribbean,
:01:00. > :01:06.Jacks are searching for the Trident of Poseidon. Every single of these
:01:07. > :01:10.films, this is the fifth, has a search request. This time it's for
:01:11. > :01:13.the Trident of Poseidon. The last time we were with Pirates Of The
:01:14. > :01:18.Caribbean, it was one that anyone felt like an afterthought. The
:01:19. > :01:23.reason we are back is because the movies make a huge amount of money.
:01:24. > :01:28.We have some of the old cast, some new faces. But generally the same
:01:29. > :01:30.old story. Yes, there is a curse, a quest, some goings-on. Here is a
:01:31. > :01:32.clip. Because I just happen to be
:01:33. > :02:04.Captain Jack Sparrow. The great Jack Sparrow is not
:02:05. > :02:12.some drunk in a cell. A great pirate does not
:02:13. > :02:20.require such intricacies. Do you know how long I've been
:02:21. > :02:30.waiting for this moment? The audiences love it, so I give
:02:31. > :02:34.them more and more? Have you seen the other Pirates movies? I think
:02:35. > :02:39.saw the first one, long time ago. My daughter was all right, but I didn't
:02:40. > :02:43.need more. Do think this gag is so fabulous it's going to take five
:02:44. > :02:47.movies? Firstly, I was never a fan of the first one, the second and
:02:48. > :02:50.third I found increasingly annoying on the fourth just felt like a
:02:51. > :02:53.postscript. You have Johnny Depp doing that same performance that has
:02:54. > :02:57.been getting more and more broad during the various movies. When he
:02:58. > :03:02.first art doing it, and one said he was like Keith Richards from the
:03:03. > :03:05.Rolling Stones. It has become more and more like a pantomime. His
:03:06. > :03:09.accent seems to have gone to the other side of the world. He sounded
:03:10. > :03:14.positively Australian in some moments. You also get the classic
:03:15. > :03:20.thing of, we need to relaunch the franchise, let's have intertwining
:03:21. > :03:25.plot, and all the way through your thinking, just give me a narrative
:03:26. > :03:30.that actually makes some sense. The weird thing about the Pirates movies
:03:31. > :03:33.is they feel quite so mechanical and soulless. Understandably, they come
:03:34. > :03:38.from a ride originally, they are an attempt to take that and put it on
:03:39. > :03:43.the screen. There is a real feeling is that I suspect even people who
:03:44. > :03:47.are real fans of the Pirates Of The Caribbean series will feel they have
:03:48. > :03:53.seen before and done better. I've never been a fan of them, but I
:03:54. > :03:58.think even fans will start to think, for heaven 's sake, do we have to do
:03:59. > :04:02.this all over again. Actually, it is one of those movies in which you can
:04:03. > :04:06.almost see the accountants totting up the sums. But in this thing
:04:07. > :04:11.together. It's like an abacus. There is no new wit or invention. A lot of
:04:12. > :04:17.the script sounds like offcuts from carry on movies. You can take lines
:04:18. > :04:21.from this and Kerryn Columbus and they are the same script writing
:04:22. > :04:24.pattern. It's not the worst of the movies, is not the best of the
:04:25. > :04:28.Pirates Of The Caribbean movies, boringly in the middle, with
:04:29. > :04:32.emphasis on the boring. We get that! Something as with seen before is
:04:33. > :04:36.Baywatch, a long-running sort of kitsch classic TV series, what 25
:04:37. > :04:42.years ago? Long enough ago that when it was on I didn't have a
:04:43. > :04:53.television. It a sort of post-modern reboot in the manner of 21 Jump St.
:04:54. > :04:58.Zac Efron is a disgraced Olympian, a celebrity to who bring attention to
:04:59. > :05:02.them. His character doesn't believe in teamwork. You know that over the
:05:03. > :05:07.course of the movie, they will find some sort of affectionate bond, and
:05:08. > :05:09.this will be driven by a long and rather creaky crime plot, because
:05:10. > :05:14.it's the beach film, therefore has to have a crime plot. It's not
:05:15. > :05:18.particularly good, but not particularly bad either. I counted
:05:19. > :05:21.five times during this movie that I laughed, five times more than I
:05:22. > :05:27.thought I would. It's nothing like as consistently funny as other
:05:28. > :05:31.films, but Zac Efron and Dwayne The Rock Johnson are quite funny. There
:05:32. > :05:38.is a slightly sharp thing about the fact there is a lot of camera
:05:39. > :05:42.ogling, but its sack everyone who is being ogled. It is a two-hour movie
:05:43. > :05:45.that is at least one hour in five minutes too long. If it was
:05:46. > :05:50.officially five-minute TV special, they might have got away with it. I
:05:51. > :05:53.have seen worse. Did at least laugh a few times, which is more than I
:05:54. > :05:56.can say about Pirates Of The Caribbean. When it is described as
:05:57. > :06:01.post-modern, I'm sure the makers of the film will be flattered. I'm sure
:06:02. > :06:07.that that was how it was pitched in the first place. It's a post-modern
:06:08. > :06:13.redo. Now, The Other Side Of Hope. This is a sort of comedy about
:06:14. > :06:19.your's refugee crisis. It's Aki Kaurismaki, an interesting
:06:20. > :06:22.writer-director. You will know his kind of deadpan comedy. It's
:06:23. > :06:33.essentially a story about a young man from Syria arrives in Finland,
:06:34. > :06:35.bullied on the street by thugs, but embraced by the displaced community
:06:36. > :07:29.who try to show him the ropes. Here is a clip.
:07:30. > :07:37.You get a centre that, that kind of bittersweet comedy. What I like
:07:38. > :07:42.about this is that on the one hand it is very sensitive and humane, and
:07:43. > :07:46.it feels real. It feels like a story about a character you can believe
:07:47. > :07:54.in. It also has that Aki Kaurismaki sense of the world. It's laugh out
:07:55. > :07:58.loud funny in some places, when you don't expect it to be. The central
:07:59. > :08:03.character then meet up with a Finnish businessmen who decides he
:08:04. > :08:06.will buy a failing restaurant, which he attempts to make work by doing
:08:07. > :08:10.various things. At one point he decides to make it a sushi
:08:11. > :08:14.restaurant, and he doesn't have sushi so they make salted herring
:08:15. > :08:18.instead. There are these absurd moments, but it's a story about
:08:19. > :08:28.dispossessed people and the way in which strange friendships can be
:08:29. > :08:31.forged. It has beautiful use of music. At one point you get buskers
:08:32. > :08:33.in the street and the blues band in a bar who seem to offer a kind of
:08:34. > :08:36.Greek chorus commentary. There's a lovely moment in which somebody
:08:37. > :08:39.start playing a tune which takes a run away to lost, distant lands.
:08:40. > :08:44.It's beautifully put together, visually crisp and clear in that
:08:45. > :08:48.kind of hyper real style. It's very, very difficult to get that balance
:08:49. > :08:53.between tragedy and comedy, between smiles and tears. But it genuinely
:08:54. > :08:57.manages to do both those things. The funny moments are funny, and the
:08:58. > :09:01.tragic moments are profoundly moving. It's very humane and
:09:02. > :09:07.touching. I think anybody could get on with it. It's really, really good
:09:08. > :09:11.film. What is best out of the moment? I will say this for the last
:09:12. > :09:15.week, it won't be in cinemas for too much longer. It's The Levelling. I
:09:16. > :09:19.want people to see it on big screen if they can. It's a story about
:09:20. > :09:26.young woman who goes back to a family farm where she has unresolved
:09:27. > :09:28.issues. Fantastic performances, beautifully shot, wonderful
:09:29. > :09:33.soundscape, wonderful sound design. You need to sit on the big screen
:09:34. > :09:39.because so much of what's going on is going in the sound, the sound of
:09:40. > :09:45.the wind, the rain, the farm itself. And you do lose that on the big
:09:46. > :09:50.screen. I think this is a major talent, she was described as a
:09:51. > :09:55.rising star of tomorrow ten years ago by screen International. It's
:09:56. > :10:00.taken her that long to make this feature film. It's a great piece of
:10:01. > :10:05.work, The Levelling. And best DVD? Jackie. When I reviewed this the
:10:06. > :10:10.first time round, took me to make get to grips with it. One of the
:10:11. > :10:13.things I love about it is the score, which is brilliant. A lot of lot of
:10:14. > :10:16.attention of the central performance. When I first saw it, I
:10:17. > :10:22.thought it felt strangely stilted, maybe a bit over theatrical. Second
:10:23. > :10:28.time round, realised it's a film about a woman in a position whereby
:10:29. > :10:32.she has to perform certain roles. And that awkwardness is very
:10:33. > :10:36.deliberate. The theatricality is on purpose. It's a multilayered film.
:10:37. > :10:40.It's not immediately accessible, but it really does, the more you watch
:10:41. > :10:44.at the more we find in it. Which is another reason why if you saw it in
:10:45. > :10:49.the cinema and went crazy about it, it's worth watching again at home.
:10:50. > :11:05.It stands up on the small screen. OK, Mark. Thank you so much.
:11:06. > :11:12.You can find all of our previous programmes on the iPlayer. And also
:11:13. > :11:29.more online. That's thoughtlessly, thank you for watching, goodbye.
:11:30. > :11:30.Some unusually high UV levels across the