type of that we ask for the same type of data as he claims are sold on to other companies and when we ask for the same data, we are refused. other companies and when we ask for the same data, we are refusedm other companies and when we ask for the same data, we are refused. it is ridiculous. these companies earn billions of pounds of dollars, they have a moral obligation to do what is right. you know whether it is child pornography, whether it is violence, whether it is in this case attem pts violence, whether it is in this case atte m pts to violence, whether it is in this case attempts to blow up western civilisation, the privacy issue goes out the window. you would be happy for people to have access to... yes. i generally would. i don't have a problem. there is an interesting thing, put it clear. the more libertarian part of the conservative party hates this. our brexit secretary david raises resigned over

this increasing state meddling. —— david davis. we'll leave it now. ask again at 11:30pm. that is that from the papers this hour, we are back in half an hour. will have a look at the stories making up our front pages. coming up next, ben brown and 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. so mark, what do we have this week? as i'm sure you must have noticed, there is a new pirates of the caribbean movie coming into cinemas. why? laughter. baywatch goes from small

screen to big screen. and aki kaurismaki's the other side of hope. let's kick off with the pirates of the caribbean, they are billing it as jack searching for the trident of poseidon. every single one of these films — this is the fifth — has a search, a quest. this time it's for the trident of poseidon. the last time we were with pirates of the caribbean, it was one that everyone felt was like an afterthought. the reason we are back is because these movies make a huge amount of money. we have some of the old cast, some new faces. but generally the same old story. yes, there is a curse, a quest, some goings—on. here is a clip. i need to speak with you. hand me your sword. i don't have a sword.

what kind of soldier has no weapon? i'm currently wanted for treason. so not the very good kind, then. i'm looking for a pirate. captainjack sparrow? well, today is your lucky day. because ijust happen to be captain jack sparrow. no, it can't be. i've spent years searching for this? the great jack sparrow is not some drunk in a cell. do you even have a ship? a crew? pants? a great pirate does not require such intricacies. do you know how long i've been waiting for this moment? the audiences love it, so give them more and more? have you seen the other pirates movies? i think i saw the first one, a long time ago. thought it was all right, but i didn't need more. do you think this gag is so fabulous it's going to take five movies? firstly, i was never a fan of the first one,

the second and third i found increasingly annoying, and the fourth just felt like a postscript. you havejohnny depp doing that same performance that has been getting more and more broad during the various movies. when he first started doing it, everyone said he was like keith richards from the rolling stones. it has become more and more like a pantomime. his accent seems to have gone to the other side of the world. he sounded positively australian in some moments. you also get the classic thing of, we need to relaunch the franchise, let's have intertwining plots, and all the way through you're thinking, just give me a narrative that actually makes some sense. the weird thing about the pirates movies is they feel quite so mechanical and soulless. understandably, they come from a ride originally, they are an attempt to take that and put it on the screen.

there is a real feeling that i suspect even people who are real fans of the pirates of the caribbean series will feel they have seen this before and done better. i've never been a fan of them, but i think even fans will start to think, for heaven's sake, do we have to do this all over again? actually, it is one of those movies in which you can almost see the accountants totting up the sums. putting this thing together. it's like an abacus. there is no new wit or invention. a lot of the script sounds like offcuts from carry on movies. you can take lines from this and carry on columbus and they are the same scriptwriting pattern. it's not the worst of the movies, it's not the best of the pirates of the caribbean movies — boringly in the middle, with emphasis on the boring. we get that! something else we have seen before is baywatch, a long—running sort of kitsch classic tv series, what, 25 years ago? long enough ago that when it was on i didn't have a television. it's a sort of post—modern reboot

in the manner of 21 jump street. zac efron is a disgraced olympian, a celebrity to bring attention to them. his character doesn't believe in teamwork. you know that over the course of the movie, they will find some sort of affectionate bond, and this will be driven by a long and rather creaky crime plot, because it's a feature film, therefore it has to have a crime plot. it's not particularly good, but not particularly bad either. i counted five times during this movie that i laughed, five times more than i thought i would. it's nothing like as consistently funny as 21 jump street, but zac efron and dwayne "the rock" johnson are quite funny. there is a slightly sharp thing about the fact there is a lot of camera ogling, but it's zac efron who is being ogled. it is a two—hour movie that is at least one hour

and five minutes too long. if it was a 55——minute tv special, they might have got away with it. i have seen worse. i did at least laugh a few times, which is more than i can say about pirates of the caribbean. when you describe it as post—modern, i'm sure the makers of the film will be flattered. i'm sure that that was how it was pitched in the first place. it's a post—modern redo. now, the other side of hope. this is a sort of comedy about europe's refugee crisis. it's aki kaurismaki, an interesting writer—director. if you are familiar with him, you will know his kind of deadpan comedy. it's essentially a story about a young man from syria who arrives in finland, processed by the authorities, bullied on the street by thugs, but embraced by the displaced community who try to show him the ropes. here is a clip. you get a sense of that kind of bittersweet comedy. what i like about this is that on the one hand it is very sensitive and humane, and it feels real.

it feels like a story about a character you can believe in. it also has that aki kaurismaki off—kilter sense of the world. it's laugh out loud funny in some places, when you don't expect it to be. the central character then meets up with a finnish businessmen who decides he will buy a failing restaurant, which he attempts to make work by doing various things. at one point he decides to make it a sushi restaurant, and he doesn't have sushi so they make salted herring instead. there are these absurd moments, but it's a story about dispossessed people and the way in which strange friendships can be forged. it has beautiful use of music. at one point you get buskers in the street and the blues band in a bar who seem to offer a kind of greek chorus commentary. there's a lovely moment in a migrant reception centre where somebody starts playing a tune which takes a runaway to lost, distant lands. it's beautifully put together, visually crisp and clear in that kind of hyper real style.

it's very, very difficult to get that balance between tragedy and comedy, between smiles and tears. but it genuinely manages to do both those things. the funny moments are funny, and the tragic moments are profoundly moving. it's very humane and touching. i think anybody could get on with it. it's a really, really good film. what is best out at the moment? i will say this for the last week, it won't be in cinemas for too much longer. it's the levelling. i want people to see it on the big screen if they can. it's a story about a young woman who goes back to a family farm where she has unresolved family issues. fantastic performances, beautifully shot, wonderful soundscape, wonderful sound design. you need to see it on the big screen because so much of what's going on is going on in the sound, the sound of the wind, the rain, the farm itself. and you do lose that off the big screen. i think the director is a major talent, she was described

as a rising star of tomorrow ten years ago by screen international. it's taken her that long to make this feature film. it's a great piece of work, the levelling. and best dvd? jackie. when i reviewed this the first time round, it took me two viewings to get to grips with it. one of the things i love about it is the score, which is brilliant. a lot of attention on the central performance. which when i first saw it, i thought it felt strangely stilted, maybe a bit over—theatrical. second time round, i realised it's a film about a woman in a position whereby she has to perform certain roles. and that awkwardness is very deliberate. the theatricality is on purpose. it's a multilayered film. it's not immediately accessible, but it really does, the more you watch it the more you find in it. which is another reason why if you saw it in the cinema

and weren't crazy about it, it's worth watching again at home. it stands up on the small screen. ok, mark. thank you so much. you can find all of our previous programmes on the iplayer. and also more online. that's all from us, thank you for watching, goodbye. hello all once again. we really managed to cram in some weather on saturday. thunderstorms across the north of england, southern scotland, in the last of them in the north sea, leaving behind the rain for the

western side of scotland top ——. the rain moving further north and east. make the most of the dry south because it won't last all day. top temperature, 2a, 25, feeling rather close. even muddier conditions through the night across the southern half of britain. thunderstorms not out of the bastion. —— out of the question. dry weather into the south—west. this is bbc news. the headlines at 11pm: the boss of british airways says a power supply issue was behind a major computer failure that has left thousands of his airline's passengers stranded worldwide. we are currently, as you can

probably see behind me, a huge queue waiting for any information. my main concern now is that i don't want a two—year—old grandma spending the night on the floor. the terror threat level in the uk, which was increased to the highest status of critical following the manchester bombing, has been reduced to severe. army bomb disposal experts evacuate homes in moss side as part of an ongoing search linked to the manchester arena bombing. families of the victims of monday's attack visit st anne's square to pay their respects to loved ones.