doesn't do a silly dance after a goal. bit of a football player from yesteryear are seem to be effected by fame yesteryear are seem to be effected byfame and yesteryear are seem to be effected by fame and money. he is 24, 205i by fame and money. he is 24, 205i think. -- 25. america are not even playing in it. they get to post it time after next, so i am rooting for england this tournament.” time after next, so i am rooting for england this tournament. i am glad to hear it. that's it for the papers. don't forget you can see the front pages of the papers online on the bbc news website. it's all there for you — 7 days a week at bbc.co.uk/papers — and if you miss the programme any evening you can watch it later on bbc iplayer. thank you. and now on the news channel, it's time for the film review. hello, and a very warm welcome

to the film review on bbc news. to take us through this week's releases is mark kermode. good to see you again, mark. what have you been watching? a very interesting week. we have maquia, which is a visually stunning anime. in the fade, a socio—political thriller with a brilliant performance by diane kruger. and overboard, the remake no—one was asking for! i'm looking forward to that, but let's start with something i know literally nothing about this. and i know you're a big fan of animation, tell us more. i knew nothing about this when i saw it. it opens on wednesday of next week, maquia — full title — maquia: when the promised flower blooms — written and directed by mari okada, making a directorial debut. the story is there is a mythical clan of celestial weavers who don't appear to age beyond teenage years. their idyllic land is invaded

by marauders, by mortals. one of them is kidnapped and forced to marry a mortal king. another discovers a mortal child, a young baby, who was wrenched from his mother's arms, and decides to look after the mortal child, but she herself won't grow up. so it's a story about mothers and sons, it's a story about mortality and immortality, and it's also a film in which we have spectacular visual set pieces and very small, intimate scenes, one of which is here. so on the one hand, you have that. on the other hand, you have these really sort of extraordinary visual set pieces with huge, great big cities in the sky, with marauding action, with flying beasties. the film is a — i think it is a 15 certificate for fairly strong violence — and what i liked about it was i knew nothing of the story beforehand. it worked because it's very, very over—cranked in its emotions. i mean, all the emotions are turned up to ii.

it's got a score which is absolutely tugging at your heartstrings. and one of the things it's about — i said it's about mothers and children, but it's also about crying and trying not to cry. there are few things more cinematically winning than the sight of somebody saying "i'm not going to cry, i'm not going to cry," particularly when you're sort of in sort of in this genre in which that stuff can be sort of amplified. i mean, it's not up there on a level with your name, for me, which i still think was really wonderful and caused such a stir a couple of years ago, but i thought this was really interesting. as i said, i didn't know anything about the story beforehand, i thought it had real tenderness. there are certain moments in it that are really visually breathtaking. it's a little bit narratively contorting every now and then but i was never bored. it does have several endings, like return of the king. it's ended.

no, it's ended. no, it's ended again. i was swept along by it because it seemed passionate and had a real intensity to it. actually, when you go to the pictures, that's what you want — you want something that engages you emotionally, and it did do that. yes, i'm quite a blubberer so i'm already thinking that's going to make me cry. very good. i think crying in the cinema is one of life's greatest joys. and clearly, it is to be seen on a large screen because it's so beautiful to look at? well, i thought so. i saw it projected on a big—screen and i thought that's how i want to see it. that said, when it comes out on dvd, i will argue for it. i know, i'm nothing if not inconsistent. now in the fade, i'm really fascinated by. it made quite a hit at cannes — i think it got the golden globe for best foreign film. it did, golden globe for best foreign language and diane kruger won the best actress award at cannes back in 2017. so the story is she is a mother and wife in germany. there is a neo—nazi attack in which she loses people

very, very close to her. and the film then is about the way in which the legal response is firstly to turn on the community that have been attacked and then the way in which the legal system attempts and perhaps fails to deal with what has happened to her. now on one hand, it's an art house movie, a serious socio—political thriller with a brilliant central performance by diane kruger. on the other hand, it does have one foot in the kind of revenge exploitation genre that dates back to things like michael winner's death wish. if you think of something like kelly reichardt‘s night moves over here and death wish over here, it's kind of somewhere in the middle. the film itself is, i have to say, somewhat uneven. but her performance is so convincing that you forgive it for the things that are perhaps less structurally convincing about it. for example, during the court room scenes — the court room scenes are shot are shot with a gliding camera — it's one of those depictions of the legal system in which i struggle to remember a more reptilian performance by a defence attorney. he was literally doing a sort

of hissable villain, as the legal system lets her down. as i said, we seen a version of this story before but she is brilliant and she is absolutely the thing that holds it together. yes, worth seeing it for diane kruger. absolutely. overboard, which i remember from my teenage years — did they need to remake this? no! end of review, that's it. i can't think of anyone crying out, saying, "do you remember that goldie hawn—kurt russell film that we all kind enjoyed up to a point? let's do it again." however, this time it's a gender swap, so in the original, russell, he convinces her that she is his wife. she's a millionaire and she's an amnesiac, and he wants to get his own back so he convinces her she's his wife. this time, anna faris goes to clean somebody‘s yacht, they are horrible to her, she gets pushed overboard, and then eugenio derbez himself becomes an amnesiac, and she figures the way to get my own back on him is that i will tell him that he's my husband. see what i've done? i see what you're doing. here's a clip.

is any of this ringing a bell? nope, nothing! we dated every time i docked! we would get frozen yoghurt and watch the sunset over the playa tortugas. that's where we fell in love! sounds like you're a romantic, leo. look, look, look, iadmit there are many things i've forgotten. but from the depths of my soul, i know i'm not married to this woman. so unless i see some real proof, i'm getting a slice of pie at the cafeteria. good luck, crazy lady. wait, wait... wait, honey? i didn't want to say this because i know it embarrasses you. but you have a tattoo of a cartoon mouse on your right butt cheek. no, i don't. you're really my wife? for better or worse, baby! and it's hard to believe but it's all that funny. it was a really weird thing — i watched this in a fairly packed screening room. there is nothing louder than the sound of people not laughing at a comedy. and there is so much sort of gurning going on on screen, so much mugging, and

yet, the comedy is — the key reason is there is zero chemistry, absolutely zero chemistry between these people, and so consequently, you end up worrying about the plot and thinking, you know, "i didn't think this the first time round, but now that you mention it, this plot‘s really creepy." there's something... it's notjust that it doesn't make any sense, it's that it's actually really creepy. not funny, a real shame. some talented people involved in it, none of their talents being used. and, as you asked at the beginning, did we need a remake of it? really? why? no. why do they do this? ijust think why? let's find the producer and ask him sometime. lek and the dogs,

which i've not seen — well—known dog owner, dog lover — i'm going to love this? ok, it's not primarily about dogs. 0h. it's an andrew kotting film — i love andrew kotting, i think andrew kotting is like one—of—a—kind film—maker. the story is based on a play which is based on a real—life story about a russian child who, at the age of four, left his apartment, or was thrown out of his apartment, and lived on the streets of moscow with dogs. this is almost a futuristic fantasy directed by andrew kotting, the third part of his earthworks trilogy in which this guy has now grown up, remembers his life with the dogs and it's about a number of things — it's about identity, it's about the condition

of the planet, it's primarily about time, about the way in which the past and the present and the future all coexist. it's a very difficult film to describe because, as with all of andrew kotting's films, the only way of describing them is saying you have to watch the film. i think it's really remarkable and i think andrew kotting is one of those filmmakers that we should celebrate. you'll really have to seek this film out — it's touring around the country. it's not going to be playing in your local multiplex, it's not going to be going up against overboard, unfortunately.

but it's really, really something, and i think you'd like — there are dogs in it — but it's not turner and hooch. that may be a good thing. i like turner and hooch! dvd of the week is one of those extraordinary films that you think about and you think about afterwards... did you like it? phantom thread, and it put me in the mind of what we were saying last week about the piano where i really, really thought it was amazing and beautiful and so well made without necessarily enjoying it. ok, fine, so here's the thing with phantom thread now — so phantom thread, paul thomas anderson, daniel day—lewis's final performance, apparently, this is the last thing he's going to do. i've now seen phantom thread seven times. seven! and five of them in the cinema. the first time i saw it, i liked it. the second time i saw it, i loved it. the third time i saw it i was thinking, "actually, this is overtaking punch—drunk love in my affections." i'm starting to believe that i've become a bit weirdly obsessed by it, and that perhaps my response is not completely rational. but a lot of people do love it, actually, and there's something so striking about this and the music... but some people — jonny greenwood score... is it? but some people absolutely hate it. i think it is a real... so, the first time you saw it, you admired it but didn't like it? i found that it lived with me and that i take as a positive. and i loved the performances. and i'm someone who has been neutral about daniel day—lewis but i thought he was outstanding

in this, absolutely outstanding. here is my advice — watch it six more times and you will find that it will really get its claws into you. thank you very much indeed. all our previous programmes are on the iplayer, as well. thanks very much for being with us. thanks, bye—bye. good evening. blue skies this week. picture perfect. high pressure is in charge. dry and sunny. strong sunshine overhead. the morning, a co mforta ble sunshine overhead. the morning, a comfortable start. temperatures in the suburbs, down to single figures. low teens in city centres. quickly warming up. the chance of low cloud. most will be clear. sunny spells. widely into the 20s. we could see

the first 30 degrees day of the week. another chance to see 30 degrees this week as temperatures continue into the mid—20s for many of you. dry and sunny. the sunshine will be strong. summer is certainly here. i'm rico hizon in singapore. the headlines: a closely fought contest but recep tayyip erdogan appears to have succeeded in his bid for another term as turkey's president. the tore the people who have taken their duty to go to the ballot boxes, i would like to thank each and every one of those citizens who have their duties. victims of rape by the burmese military — the devastating legacy of sexual violence in the rohingya refugee camps of bangladesh. i'm babita sharma in london. also in the programme.

president macron insists eu leaders have ruled out forcing