shhh. it is lovely them and saying, shhh. it is lovely to see her performing the role of sister, the roles are reversed. to see her performing the role of sister, the roles are reversedm is wonderful. anyway, nigel and 10, we will leave it there for now. but you are coming back atjust gone 11:30pm. for now, that is it from the papers. now on bbc news, the film review. hello, and welcome to the film review on bbc news. to take us through this week's cinema releases is mark kermode. mark, what do we have this week? it's the very definition of a mixed bag. we have king arthur, guy ritchie's take on the legend. we have a low—key drama set in tehran, called inversion.

and colossal — anne hathaway meets godzilla. well, we start with king arthur. we saw in the brief clip there one david beckham. we better start and just say, is he an eric cantona? no, he isn't. this is guy ritchie taking on the legend, if you are old enough to remember 1980s novelty records, king arthur daley is not all right. the story is, charlie is the young hero whose wicked uncle jude law has seized power, leaving him to grow up ducking and diving in londinium, and he is keeping a low profile until david beckham, no less, tells him to, and i quote, he says, "put ten fingers around the blunt end of that sword and give it a tug."

he does, blimey, wouldn't you know it, it comes out. next thing he is having to be answerable, because it turns out he might be the rightful heir. here is a clip. you've got the wrong man, sire. i was born in a brothel on a bridge in londinium. the sword can only be drawn by uther pendragon or his direct heir. you felt it, didn't you? the power. it's what pulled you out. you just don't know how to control it. so what happens now? you know what happens now. you're quickly becoming a legend. there's a surprise from guy ritchie that the baddy is well—spoken and posh and jude law. here's the weird thing about this. arthurian legend is rich and magical, and i have rarely seen a film so lacking in magic.

a spectacular amount of stuff happens — big snakes, swords, huge cgi beasts. and you think, this is thuddingly dull. there are times it looks like outtakes from a ramstein video. it's just reminding me of other franchises i would be rather be watching. iquite like... i think he did a terrificjob with sherlock holmes, he took a small element of the text about fighting and turned it into something that made the movie action—packed. the problem with this is, itjust looks like a bunch of cgi effects thrown together around the ropiest of scripts with the broadest of performances — the whole film nudging and winking at the audience all the way through. i really ended up thinking, where isjohn boorman when you need him? where is excalibur when you need it. it's so heavy on its feet. it's not the fault of the cast. it's the fault of the script and the execution of the story. it's a thudding sword

and sorcery film which i spent large portions thinking, why am i not excited by this, why am i not laughing at thejokes? why am i not thrilled by the set pieces, and why are there so many mythical beasts that look like someone knocked them up on a home computer? it's really not good. there's nothing more to say! there isn't! we will move along. actually, a change of gear. total change. inversion, a story about everyday life in tehran, but about the issues facing a young woman. absolutely. this has a fantastic performance, a young woman, in very polluted tehran. her mother is suffering respiratory failure. her bullying brother and sister are saying, you have to move with her out of the city, what have you to lose? you don't have a husband. however, she has a full life. she works in a shop she runs.

and employs a number of women. she has ambitions of a life for herself. the film is about the way in which a character is caught between what society decides and family demands of them, and what they want for themselves. it's a very, very low—key film. to the point that i read reviews that said it's a film that never catches fire, it never takes off. i disagree. i was really moved by it. the reason i was is because i believed in these characters. it's a sort of neo—realist, handheld style, long lenses so we see her through traffic and the constant hubbub of society. there is no music other than the sound of phones ringing. you really believe in her life, and you come to absolutely side with her and her dreams of independence, and ifound it very, very moving. some people have said too low—key for them. i just found it convincing. i thought it was a film about people i believed in and cared about with a fantastic central performance and very well moderated. a country we still know relativelily little about, did we learn more? it's producing extraordinary cinema. and more and more we are seeing that this demonstration that films made with some limited resources to some extent can be

much greater canvases than a film like king arthur, in which there is endless cgi and nothing going on. we have done that! in that case, shall we move to... colossal. it's anne hathaway, a lot of people love her, and a monster, godzilla—like creature, and they‘ re linked. this has been described as rachel getting married versus godzilla. the story is, anne hathaway has fallen into alcoholism and her life has fallen apart. her boyfriend kicks her out, she goes back to her home town and takes up in her parents' empty house, and meets up with jason sudeikis' oscar, who runs the local bar. he offers her a job. that means more drinking. one morning she turns on the television and realises a monster has attacked seoul. she thinks there is a connection

between that and her. meanwhile, her life continues normally. here's a clip. when they started downsizing, i was the first to go. oh, you jerk, you already knew. yes, i'm sorry. ah, what? why didn't you tell me? why are you letting me like... my past. i didn't want you to think i was creepy, like i'm some sort of stalker. well, it's too late for that. yeah. so have you been following me all these years? of course i have. somebody actually made it out of here and did something special for once. hell, look what had to happen for things to get interesting around here. giants attacking south korea. no, i mean you. and that relationship is important. yeah, that's a lovely indication of the way in which the movie is juggling two different things.

on the one hand, this us indie picture rom—com that's shaping up. on the other hand, this monster movie playing out far away. yet, she comes to believe somehow she is controlling the monster or there is a link between them. the film becomes a metaphor for the way in which addiction and self—destruction causes harm that we are totally oblivious to. it's a really, really strange concept that works surprisingly well. i came out of the film, and somebody said that fell apart, didn't it? i said, yes, but isn't it fascinating how long it didn't fall apart? for how long it managed to keep this idea that a story about somebody‘s small—scale personal problems may be playing out in some horrible grand style somewhere far, and it becomes a film about addiction and about alcoholism and about abusive relationships, about spectatorship and the way in which we watch things on rolling news. this is a great bit. this is where they realise something is up. she's dancing in the park and there is the monster doing exactly the same.

except all the way through the film is holding this idea that maybe this isjust a paranoid delusion. what a strange idea. i think what the writer and director manages to do is, he wrote this originally as a low—budget spanish language film to which anne hathaway became attached, and it opened it up to a wider audience. the problem is this — anne hathaway fans may not want a monster movie. people got baffled and walked out. however, if you want something that's strange and adventurous and isn't not scared to fail, this is really interesting. it's far from perfect, there are places it starts to fall apart, but for a good two—thirds it is smart, intelligent, funny, and somehow that thing about massive monsters and tiny small—scale problems, there is a connection and the metaphor works surprisingly well. on the positive side, anne hathaway fans may now, and monsters fans

may fall in love with anne hathaway. to be honest, i am not sure it's going to change attitudes. it's an adventurous and hard to market film but i liked it. 0k. let's move on. yeah. the levelling. this is... wonderful. somerset levels after the floods, and an emotional story. it is, it's about family secrets, fantastic performances. brilliantly directed by hope dickson leach. she is a rising star. it's her first feature film. weirdly, something like ten years, ago she was named as a rising star by screen international, like a decade ago. i think she's really made good on the promise of short films. it's a rich emotionally powerful film, superb sound design. great score. and again very, very low—key, but very powerful. i really liked it. david troughton to plays her father. he does, and between them they investigate family secrets that have been buried but refuse

to stay buried. best dvd. mulholland drive. yeah, it's coming to blu—ray overseen by david lynch. i flagged this up because, as you probably know, twin peaks is coming back. i always found david lynch a fascinating director. this had a brief theatrical rerelease. this was voted, there was a bbc poll of something like best films of the 20th century. this came out on top. interestingly, it started life as a tv pilot and didn't start as a film. it is a david lynch classic. it's lovely to have it in a beautiful transfer and to revisit it. i don't think it's lynch's best film, but all of lynch's back catalogue is best having in the best possible format. we have had a mixed bag. we have, yes. the only thing i take away is see whatever you want, but king arthur... we are there. we got the message. did i make that clear? always good to see you. and you. thanks, mark. a quick reminder before we go that

you'll find more film news and reviews from across the bbc online at bbc.co.uk/markkermode. and you can find all our previous programmes on the bbc iplayer. that's it for this week, though. thanks for watching, goodbye. good evening. if you are out and about in the next few hours we still have torrential downpours around crosby is the guide of the uk, northern ireland and scotland. —— across the eastern side. thunderstorms will ease away as for most of the showers, and a clearer skies it will turn fairly chilly. more likely we will see mr fogg in central and eastern areas, grass crossed in the grounds of scotland —— east and fog. much drier day and brighter after the fog clears quickly. we will see a bit more

cloud, rain rushing into northern ireland and western scotland, the odd shower here and there. in contrast to what we have had today, far less intensity in the showers, farming the dry and sunny spells, and therefore it will feel quite warm, —— far lengthier rice bowls. looking ahead to monday and tuesday, temperatures recovering in the north, with the weather front close by, it is getting dry and warm for most of us. this is bbc news. the headlines at 11:00: celebrations in riyadh mark president trump's visit — deals worth a total of more than two hundred and sixty billion pounds have been signed with saudi arabia

on day one of the us leader's trip. hundreds of billions of dollars of investments into the united states and jobs, jobs, jobs. jeremy corbyn restates labour's commitment to trident after a senior colleague suggested support for it couldn't be guaranteed. the tories defend their aim to cut net migration to tens of thousands after it comes under fire from former chancellor george osborne. a joyous reunion — dozens of schoolgirls kidnapped in nigeria by islamist militants 3 years ago finally see their families