rules, still mr zith "w“rtll rules, still subject to ml” zltll "l“rtll ill il-‘ll the rules, still subject to the jurisdiction of the european court. everything remains the same except for the anomaly outside the european union and that would leave us in a worse situation and he doesn't want that and would rather almost 18 if that and would rather almost 18 if that were the case. so i think, there are two things there, somehow there are two things there, somehow the whole thing might not happen but if it doesn't —— if it does happen it might happen in a way that would in effect destroy what the purpose was in the first place and that is what he is concerned about, according to the story. finishing with the financial times and eight picture of a man standing on something rather precarious and that something rather precarious and that something is the lloyds of london building. this was a building designed by richard rogers, it has won all sorts of awards, and has all its pipes outside the building and is therefore very easy to climb. lloyds have been getting some injunctions to try and stop urban explorers climbing up to take photographs, and

it is costing them a fortune to have the security there to try and stop them. easy to climb but still extremely high. the problem is, if they want to be silly enough to do this, then let them do it! it is in pursuit of the perfect selfie, isn't it? isn't it time the fashion for selfies died out? that's it for the papers. lovely to have u—boat here. thank you very much for coming in. coming up next, it is the film review. hello and welcome to the film review on bbc news. to take us through this week's cinema releases, mark kermode is back.

what have you been watching? as you'll know, awards season is upon us. we have darkest hour, for which gary oldman is hotly tipped for oscars. we have the brawler, mukkabaaz, a boxing—movie—cum—political—romance. and three billboards outside ebbing, missouri, from martin mcdonagh. darkest hour. you wait years for a churchill film to come along and we've had two quite recently, really. so we reviewed churchill with brian cox here on the show a few months ago. the story then was that brian cox was playing brilliantly, i think, churchill anxiety—ridden in the run up to d—day. now we have gary oldman as churchill, anxiety—ridden around the time of dunkirk. it's 1940. the nazis are sweeping across europe. the resistance is crumbling everywhere. he's basically being advised by all sides to appease rather than fight. here's a clip. nothing even remotely patriotic in death or glory if the odds are firmly on the former.

nothing inglorious in trying to shorten a war that we are clearly losing. losing! europe is still... europe is lost. and before our forces are wiped out completely, now is the time to negotiate. in order to obtain the best conditions possible. hitler will not insist on outrageous terms. he will know his own weaknesses. he will be reasonable. when will the lesson be learned? how many more dictators must be... wooed, appeased. good god, given immense privileges. before we learn! you cannot reason with a tiger when your head is in its mouth! that is pretty much the give—me—an—award clip. there's no surprise it's got such awards buzz about it.

and he won a golden globe, didn't he? yeah. i think i remember in 2012, when it looked like he was going to win the oscar, then he was beaten to the punch byjean dujardin, i think it was. i think this time may well be his year. and it is a terrific performance. despite being buried under a lot of facial prosthetics, you know, you can see his personality coming through. it's a very interesting take on churchill. i think the performance has conviction and grit. much as i really, really like the brian cox film, i think this is a really solid, awards—courting and probably awards—worthy performance. my problem is the film itself, which is not as good as his performance. on the one hand, it's tojoe wright's credit that he's trying to inject a sense of immediacy and urgency into a film which could become a bunch of people arguing in rooms, essentially. and he does that well. but he also mixes up, on the one hand some very well created, you know, historical recreations, with some utterly fanciful dramatic license.

such as a scene in which churchill suddenly decides to take a quick referenda of the way the british public feel by going on the tube train and asking people what they think about what's going on. in a scene which, whatever the emotional truth of it may be, just struck me as utterly preposterous. i think the central performance is very good. and it's a crack cast. it is. kristin scott thomas. it's a very good cast and clearly a crowd pleaser. it's going down incredibly well with the american critics. i have no doubt that it will play very well. i have to say, from my point of view, there were moments in it that i thought it was cringy. where it was much too on—the—nose. i felt like it was explaining everything. you know, obviously, this is complicated subject matter, but there are certain moments in which characters don't have to be introduced by their name, their title and rank whilst they're actually in the room with you. but the thing that will carry it is the performance.

and it is a really good performance. i think it will continue to be rewarded with awards. we will soon know in the next few weeks. what's the second choice? the brawler, mukkabaaz. which is this boisterous, politically—tinged—boxing—movie—cum— romance. from the director of the gangs of wasseypur. which i think we spoke about on this show here. young boxer struggling to find his place in the world, finds himself at odds with the local big boss. he falls in love with a young woman who has no voice but whose actions speak volumes. it's a strange and occasionally ramshackle affair. the dialogue is full of cussing. and colloquial cussing at that. there is music in it but it is very racy in its lyrical content. the fight sequences, you really feel that you're watching people beating seven bells out of each other. it has the ability to eschew conventions and mix in grit and substance with its story. i think it's a bit overlong. two and a half hours. i felt it could be

tightened up a little bit. but what i liked about it, firstly, it is a bit anarchic. a bit ramshackle. you're not sure where it's going. it seems to switch genres at certain times. it always keeps you on your toes. i mean, a boxing movie should do. it is a film which dances around you and keeps you alert. i enjoyed it. it's not perfect, but it's a pretty solid thriller with some sort of social things to say, as well. ok, yeah, that's interesting. good to bring us something that i certainly didn't know too much about. ifeel like i've read a lot about three billboards. i'm a huge frances mcdormond fan. me, too. so talented. and a big martin mcdonagh fan. so this is the latest from martin mcdonagh who of course made in bruges. frances mcdormand probably still most famous for fargo. 0h! fantastic. an extraordinary cv. so, like darkest hour, this is shaping up to be a major oscar contender. it's a western—inflected tragi—comedy. frances mcdormand is a grieving mother. her daughter was abducted and killed. and the local police force,

headed up by woody harrelson as the chief, hasn't made any arrests. in a state of desperation, she decides to take those titular three billboards and emblazen them with signs that name and shame the police department and say, "how come there have been no arrests?". here's a clip. when the dna don't match no one who's ever been arrested. and when the dna don't match any other crime nationwide. and when there wasn't a single eyewitness from the time she left your house to the time we found her... well, right now, there ain't too much more we can do. could pull blood from every man and boy in this town, over the age of eight. there's several rights laws prevents that, mrs hayes. and what if he was just passing through town. pull bloody from every man in the country, then. and what if he wasjust passing through the country? if it was me, i'd start up a database. every male baby what's born, stick him on it. and as soon as he'd done something wrong, cross— reference it, make 100% certain it was a correct

match, then kill him. yeah, well, there's definitely civil rights laws prevents that. you can see from that clip that what the film does is it plays with your sympathies. on the one hand frances mcdormand is set up as the heroine. but then what she's saying there is outrageous. and suddenly, the chief is the one who's reasonable. i think the real triumph of this film is, it's a tragi—comedy that is very funny. that's one of the few clips that we could play that doesn't have chaucerian swearing in it. martin mcdonagh has a real ear for this stuff. and it is very funny. he can make you laugh and gasp. he writes brilliantly. he does. before, he had a cynical edge. but this actually has heart. because the tragedy is, if anything, more powerful than the comedy. so what you get is a story about people who are eaten up by rage, eaten up by anger, eaten up by desperation. it's really a film about how those things impact upon the characters. there are these lines that are delivered as trite little greeting card messages.

"anger only begets greater anger". "through love comes calm". and yet they seem to be sincere. what really surprised me is how tender this film is. yes, it's very funny. yes, it's very violent. yes, it's very dark. yes, it deals with edgy subject matter. but it also has a really tender heart. it has upset some people because all the characters are seen to be three dimensional. like sam rockwell is introduced as a racist cop. but as it goes on, you start to see he's also a victim of his circumstances. that doesn't play very well with everybody. because it is a film about moral ambivalence in which there isn't a good character or a bad character. everybody is in this kind of morass. but i thought it worked really well. i've seen it twice. second time round it was more powerful. when it needs to be funny, it's blisteringly funny. but it's also really tragic. and, oddly enough, very tender. goodness.

rich. yes. very rich film. yeah, i'd be interested to know what you think about it. we can discuss next week. for now, i know best out you're saying is anotherfilm — stunning scenery, beautiful setting, but quite bleak, as well. yes, hostiles, which is an end of an era western from scott cooper. christian bale is a battle hardened captain ordered to take his nemesis back to his sacred lands to die. it is a film, therefore, about coming to terms with the legacy of violence. actually, the reason i've chosen it is because it has a brilliant score by max richter, which is really evocative. the score seems to come out of the landscape. it uses this incredible instrument called a yaybahar which i'd never heard of before until i heard this film. it really captured me. i think it's not getting perhaps the attention that it should have got. i think it's a very interesting piece of work. it's called hostiles. it's worth it for the score alone. and dvd, you've picked one of my films of last year detroit.

superb. why isn't that on the awards radars? i don't begin to understand. it's so well made. really, really brilliant. the anatomy of an uprising. set in the late 1960s but i think relevant to today. fantastic ensemble cast. john boyega, will poulter, both absolutely brilliant. i would have had both of them in supporting actor nominations. fantastically directed by kathryn bigelow. yet somehow it seems to have slipped off the radar, which is a shame. i thought it was a really gripping piece of work. absolutely. a hard watch, but it is brilliant. but it has to be tough because of the subject matter. it would be wrong if it wasn't. absolutely. this is the chance to see it, if you didn't see it in the cinema. it's on dvd this week. mark, thank you very much. see you next week for more. there is, of course, more film news and reviews from across the bbc on the website. you know the address, bbc.co.uk/mark kermode. you can find our previous programmes on the bbci player. it's a busy week at the cinema. enjoy your cinema going. see you next time, bye—bye. quite a bit of drama coming with

regard to the weather. it has already been very wet and windy across many northern and western parts of the british isles. there is rain at the moment around the humber down towards the seven. come the morning that is down towards the south—east. a wet commute here. some very strong rain and strong winds gradually getting away from the south—eastern quarter by the early afternoon. following on behind, not that cold to start with across the south but the temperatures are set to tumble through the evening and overnight and minty more of those —— many more of those wintry showers coming further south to lower levels. scotland and northern ireland, the higher ground will see the accumulation, as well is the higher ground of wales is to get through tuesday. yes, there is some sunshine, no, it won't feel that cold, rickmers actually when you put in the strength of the wind it will feel much, much colder. and that is

not just the way feel much, much colder. and that is notjust the way it is the tuesday, but we keep doing that for wednesday, and for some into the first part of thursday. much colder and windy, some snow for some. this is newsday on the bbc. i'm rico hizon in singapore. our top stories: hawaii is told to fix its missile alert system after saturday's false alarm. us authorities say the error was "absolutely unacceptable". two leading fashion photographers are suspended from vogue and other magazines, over allegations they sexually exploited young male models. the bbc that aung san suu kyi must do more to speak out against hate. she and all the members of the government should make an effort to