:00:00. > :00:00.second Test match tween England and South Africa -- we also have news.
:00:00. > :00:07.We also have details about the British Grand Prix, but now it is
:00:08. > :00:18.the Film Review. Hello and welcome to
:00:19. > :00:23.The Film Review on BBC News. To take us through this week's
:00:24. > :00:36.cinema releases is Mark Kermode. We have The Beguiled, which is Sofia
:00:37. > :00:47.Coppola's remake of the Don Siegel film from 1971. We have Cars 3, the
:00:48. > :00:48.animated sequel, more cars. And War For The Planet Of The Apes, the
:00:49. > :01:00.ongoing saga continues. Sofia Coppola. Yes, the point is,
:01:01. > :01:03.this is based on a novel by Thomas Cullinan that was filmed before by
:01:04. > :01:09.Don Siegel in 1971, a famous adaptation. Cult movie. In the Civil
:01:10. > :01:15.War a wounded soldier is found in the woods by a young girl from a
:01:16. > :01:19.place for young ladies, and he is brought back, he is very badly
:01:20. > :01:23.wounded. And his presence immediately starts to cause a
:01:24. > :01:27.kerfuffle, not only because he is an enemy soldier, but also because he
:01:28. > :01:35.is a man. He is a clip. -- here. You know you're not
:01:36. > :01:58.supposed to go that far. Quick, we need to move
:01:59. > :02:15.him to the porch. So what happens, because of what she
:02:16. > :02:19.calls Christian charity they bring him into the house. They look after
:02:20. > :02:23.him and he gets better and immediately he starts to get into
:02:24. > :02:26.everyone's confidences and he is flirting and he sees what each
:02:27. > :02:30.character wants and needs. The film appears to be one kind of film, but
:02:31. > :02:36.who is the beguiled, that's the question. Sofia Coppola said when
:02:37. > :02:39.she saw the original, she wanted to tell the story from the point of
:02:40. > :02:43.view of the women's characters, and you could say the film and the novel
:02:44. > :02:49.which have multiple narrators voices aren't necessarily just on females
:02:50. > :02:56.-- just from the male character point of view. But this changes the
:02:57. > :02:59.way in which the dynamic between their relationships works and is
:03:00. > :03:05.beautifully photographed but almost like a fairy tale. It is very
:03:06. > :03:12.serial, it is a beautiful looking film. That fairy tale quality is
:03:13. > :03:15.partly deliberate but also what it does, this is set in the Civil War
:03:16. > :03:19.but it might as well not become the Civil War is very distant. In the
:03:20. > :03:23.Don Siegel version we have shots of the battlefield and flashbacks but
:03:24. > :03:27.none of that here, it is just in the distance. In the novel and the Don
:03:28. > :03:34.Siegel version there is a character who has been written out of this,
:03:35. > :03:37.Sofia Coppola said because she did not want to ever lies the subject
:03:38. > :03:43.and also because that is not what the story is about -- trivialise for
:03:44. > :03:46.top I am fond of the Don Siegel version, it is expectation with some
:03:47. > :03:51.very wall seems, but I like it. This version takes it in a given
:03:52. > :04:00.direction, a very different tone. It is a valid interpretation --
:04:01. > :04:05.different tone. Is it worth revisiting? It is worth it because
:04:06. > :04:11.it is such a different film, and I actually prefer the Don Siegel
:04:12. > :04:14.version but I'm happy... The two versions can coexist because they
:04:15. > :04:19.are such different films, and personally, I grew up loving 70s
:04:20. > :04:23.exploitation cinema and I will always have a fondness for the
:04:24. > :04:26.original, but the performances are very good, Nicole Kidman is very
:04:27. > :04:31.nuanced and Colin Farrell is terrific. He has the sly look in his
:04:32. > :04:36.eye, you think he's in control but maybe he isn't. I would encourage
:04:37. > :04:38.people to see this but also the Don Siegel version which is still a very
:04:39. > :04:44.fine film. Your next choice could not be more
:04:45. > :04:52.different. The problem is, it is very samey, it is Cars 3, and you
:04:53. > :04:57.know Cars and Cars 2, there are some cars on it. I remember seeing the
:04:58. > :05:03.first one, I remember loving the designs, I like the landscapes, but
:05:04. > :05:10.the problem here, the narrative, we have been around this track before,
:05:11. > :05:12.it feels very threadbare. The central character Lightning McQueen
:05:13. > :05:17.has got to go back to school to learn about new ways of winning a
:05:18. > :05:22.race in the process, is trainer has got to learn about being more than a
:05:23. > :05:24.trainer. There are individual set pieces which are good and the
:05:25. > :05:27.animation is terrific, and it comes with a short film at the beginning,
:05:28. > :05:35.and the little short film is really sweet and smart, about bullying and
:05:36. > :05:38.how bullying comes from being hurt yourself and it is really short and
:05:39. > :05:45.compact and everything that is smart about that little short film is what
:05:46. > :05:51.is wrong with Cars. Overall it feels very baggy. Is it about selling
:05:52. > :05:55.merchandise? If we start going down that road, we can wipe out most
:05:56. > :05:59.mainstream cinema, to be honest. It is not fair to say that about this
:06:00. > :06:03.film, but as every mainstream franchise has got that. I wouldn't
:06:04. > :06:04.mind that if the film felt more original, but it felt like I had
:06:05. > :06:11.seen that before. Right now we have got War For The
:06:12. > :06:20.Planet Of The Apes. I'm in the dark hair. -- here. The original series
:06:21. > :06:24.of the planet of the ex was great, forget about the Tim Burton remake,
:06:25. > :06:35.but now we have got this with performance caption -- the original
:06:36. > :06:39.series of the Planet Of The Apes. He is a clip.
:06:40. > :06:53.That more soldiers from the North would be joining you here.
:06:54. > :07:25.What I like about this, the performance capture work is so
:07:26. > :07:28.great. Andy Serkis specialises in this, he is remarkable. His
:07:29. > :07:32.relationship with performance capture goes back to Lord of the
:07:33. > :07:38.rings and working with Peter Jackson and King Kong and now this. What is
:07:39. > :07:41.extraordinary, this evolution has happened in a fairly short period of
:07:42. > :07:45.time, I remember watching the Tim Burton Planet Of The Apes and
:07:46. > :07:48.thought they had developed a prosthetic to allow one of their
:07:49. > :07:54.lips to move, but now they are mapped onto a performance. I think
:07:55. > :07:59.the story is good, very dark, and there is a lot of Apocalypse now in
:08:00. > :08:03.there, which there also was in skull Island, but I think the way of the
:08:04. > :08:08.performance capture, you think, this is astonishing. I'm actually
:08:09. > :08:12.watching these characters, and I'm not actually concentrating on how
:08:13. > :08:16.well rendered they are. I think Andy Serkis's work is brilliant, and
:08:17. > :08:20.there has been talk about whether he will get an Oscar-nominated and I
:08:21. > :08:24.think it is long overdue. What I like about this, as someone who is a
:08:25. > :08:27.die-hard Planet Of The Apes fan, I have always said everything I have
:08:28. > :08:33.learned about politics I learned from Planet Of The Apes and I'm not
:08:34. > :08:37.joking. Now I do have to watch it. This has taken the series and then
:08:38. > :08:42.it is dramatic. The synthesis of performance and technology is really
:08:43. > :08:49.really well captured in this film. Clever. Interesting for the what is
:08:50. > :08:52.best out? It Comes At Night, I still think is terrific, some people think
:08:53. > :08:58.this might be a slam bang horror movie, but it is not that, and I
:08:59. > :09:03.asked you to go and see this, but you didn't? I have had a busy week.
:09:04. > :09:09.You have got to go and see this, it is a creepy film, it is a really
:09:10. > :09:12.creepy film, family holed up in this house in the woods and there is
:09:13. > :09:17.something out there. I really like it and I think you will admire it.
:09:18. > :09:25.I'm a bit chicken about that kind of think about I am really desperate to
:09:26. > :09:32.see your DVD. This is a great film, The Levelling, one of the best debut
:09:33. > :09:37.films I've seen in a long time, set in the Somerset levels after the
:09:38. > :09:41.flood. There is a estranged father and daughter, on the farm but he
:09:42. > :09:47.owns, that is failing, they are trying to find their relationship
:09:48. > :09:51.again, it is a very tactile film, you can feel the earth and the
:09:52. > :09:56.history, and all of that stuff bubbling up from the ground. I
:09:57. > :09:58.thought it was terrific, great soundtrack, beautiful use of
:09:59. > :10:05.incidental music. Her debut feature film? She was named as a rising star
:10:06. > :10:09.many years ago, all these newspapers saying this, and it took a long time
:10:10. > :10:13.to get this made, but boy was it worth it. If you can make a film
:10:14. > :10:17.that good, take as long as you want. Excellent. Mark, as ever, thanks for
:10:18. > :10:20.joining us. A quick reminder before we go that
:10:21. > :10:23.you'll find more film news and reviews from across the BBC
:10:24. > :10:26.online at bbc.co.uk/mark kermode. And you can find all our previous
:10:27. > :10:31.programmes on the iplayer. That is it for this week. Enjoy your
:10:32. > :10:56.cinema going. Goodbye. Your weekend weather is coming up,
:10:57. > :10:57.and we start with a bit of Friday, and for many of us a