during lockdown, while everyone was watching movies on streaming services, trailers for unhinged proudly boasted that the film would open in theatres injuly, with studio head mark gill calling it the canary in the coalmine for cinema reopenings. in america, where coronavirus continue to spike, unhinged has inevitably had its release delayed, along with potential blockbusters like tenet and mulan. but here in the uk, the russell crowe actioner is now testing the waters as a wide theatrical release, hoping to draw punters back to the spectacle of big screen cinema. man, go!

crowe stars as an aggrieved, overweight and aggressive ball of anger whose path crosses with caren pistorius‘s rachel, a mother in the middle of a messy divorce who is late getting her son to school and herself to work. i'm pretty sure that truck is following me. he's road raging. why don't you just chill, man? after she honks him at a traffic light and then refuses to apologise for her perceived rudeness, he sets out to teach her a lesson, pursuing rachel her friends and her family while blaming her for his violent retribution. hey! pull your window down! pitched somewhere between steven spielberg's duel and joel shumacher‘s falling down, unhinged, from director derrick borte, is a nuts and bolts affair that does exactly what it says on the tin without ever really stopping to think about it. andy. who's phone is this?

i'm sitting here across from a friend. we note from the trailer that the action is going to involve crowe wreaking mobile phone havoc in a diner and a giant truck running over a car, and that pretty much sums up the movie. a popcorn mix of interpersonal craziness and big crunchy carbound carnage. can you see him? he's catching up. it helps, of course, that playing a character with anger management issues is hardly a stretch for russell crowe, although unlike michael douglas's more interesting character in falling down, crowe starts crazy and then just gets worse. you can hardly call this an analysis of societal rage, but watching 90 minutes of head—banging pedal to the metal big screen thrills, ifound myself happy to be back in a cinema, succumbing to the magic of the big screen. better bring your a—game. cos you're going to need it. also getting a wide summer release this weekend is summerland, a film that could not be more different from unhinged in every respect.

we were expecting you hour ago. sorry. frank! this is miss lamb, your new guardian. i don't want him! we've all got to do our bit. the brilliant gemma arterton stars as alice lamb, a reclusive writer living in a south coast village during world war ii. alice is considered an oddity by the locals, a loner who investigates and debunks myths and folklore, looking for the facts behind the fiction. i don't think it's very interesting. i wrote them. when young evacuee frank shows up unexpectedly on her doorstep, alice has no time for him, insisting that he be rehomed. but inevitably, a bond grows between the pair, with alice warming to her new charge as we learn about the love and loss that haunts her own past and the possibility of magic in the future. was she the one you loved? would you think it was strange? no. written and directed by olivier award—winning

playwright jessica swale, summerland is a lovely, heartfelt film about matters of life and death that has its feet on the ground and its head in the clouds. in the central role, arterton, who's also an executive producer, relishes the chance to play a character who doesn't care about what the outside world thinks of her, preferring instead to find refuge in her work. he's not on his own. gugu mbatha—raw is perfectly cast as the face that haunts alice's memories, reminding her of what love once felt like, while a supporting cast including penelope wilson and tom courtenay ensures that even the smaller roles have have to. miss lamb! what's most important, however, is that summerland is a film full of hope, something we all sorely need right now. mrs litvak? who are you? mrs litvak, i'm very

sorry for your loss. from the heart—warming to the horrific with the vigil, another new cinema release, this from the blumhouse label who gave us paranormal activity, the purge and get out. written and directed by feature a first—timer keith thomas, the story plays out over the course of one night during which a troubled young man is hired to keep watch over a recently deceased member of the orthodoxjewish community. plagued with guilt and anxiety, yakov discovers that mr litvak believed he was being pursued by an evil spirit, a spirit that now seems to have set its sight on yakov, contacting him through visions and cell phone calls, refusing to let him leave this apparently haunted house. set largely in a gloomy apartment where light is replaced by darkness visible, the vigil is at its best when suggesting rather than depicting its brooding horrors. there are a few perfunctory jump scares here and there, but it's the atmosphere of dread, aided by a groaning soundtrack, that's

the film's strongest suit. have you been enjoying it here? yeah. you see, normally we hire a working couple in the winter to help with maintenance. and then there's a strip—down, emptying all the vans, giving them a good scrub... sounds great. there's a hint of dread, too, about make up, an atmospheric british psychodrama from writer director claire oakley. molly windsor is ruth, a taciturn teenager who arrives at a bleak off—season cornish caravan park where her boyfriend tom is working. lipstick smears on the mirror and strands of red hair on tom's clothes lead ruth to suspect that he's being unfaithful. but her own growing relationship with the charismaticjade suggests that if deceptions are at play, they may be internal rather than external. she's got a bit of reputation, you know? reputation for what? like its central character, make up is an enigmatic riddle,

a film that slips seamlessly between genres. on one level, it's a coming—of—age story about someone discovering their identity and sexuality. but it's also haunted by horror, with the eerie vistas of the caravan park reflecting ruth's inner turmoil, stalked by shadowy figures whose presence seems both threatening and elusive. do you know a girl with long red hair? she's not ringing any bells. crucially, oakley, making her feature debut after helming several shorts, wants to keep the audience guessing, musing upon how much of this is genuinely mysterious and how much isjust in ruth's mind. it's a strange movie, low on explanation, big on atmosphere. thanks to cinematographer nick cooke, composer ben salisbury, and sound designer ania przygoda, all of whom lend to the air of unease. ruth, you don't need to go! ruth! you can find make up on curzon

home cinema and then select uk cinemas over the coming weeks and months. the stars have their beginnings and their ends. for a few moments, somewhere in between, a few, very few may support thought. the late johann johansson was a brilliant composer who was oscar—nominated for his scores for the theory of everything and sicario. he was also the director of last and first men, which played at the berlin film festival earlier this year and is now available on demand from bfi player. inspired by olaf stapleton‘s cult sci—fi novel and narrated by tilda swinton, the film uses words, music and haunting footage of abstract monuments from the former yugoslavia to evoke a vision of futuristic humanity on the brink of extinction.

the universal end comes in due course. growing out of a multimedia project unveiled at the manchester international festival in 2017 and completed afterjohansson‘s death in 2018, last and first men is a hauntingly elegiac work described by its creator as a film that straddles the border of fiction and documentary, a meditation on memory and failed utopia contextualised through the literary mode of science fiction. all right, well, never thought i'd be saying the last mission before mars, and yet here we are making less preparations for the long journey. thank you. the future of mankind, or rather womankind, is the subject of proxima, the story of an astronaut preparing for a lengthy stint on the international space station in service of a forthcoming mission to mars. eva green is sarah, a french

astronaut whose presence is not immediately welcomed by matt dillon's mike, who considers her little more than a tourist. but during the gruelling training procedure, sarah proves that she's more than a match for any man whilst also wrestling with the demands of motherhood and the prospect of saying goodbye to her daughter. written and directed by alice winocour, who co—wrote the brilliant mustang, proxima is a quietly engrossing tale of a woman following her dreams of the stars while facing the consequences of her actions on earth. like last year's lucy in the sky, in which natalie portman played an astronaut unable to readjust to normal life after leaving earth's atmosphere, winocour‘s film maintains an intriguing balance between the everyday

and the out of this world, with green doing a terrificjob of portraying the warring pressures that her character must face in order to achieve her goal. at its heart is a palpable tension between the anxiety she feels at leaving her child behind and the pride she takes in showing her daughter that she, like her mother, can do anything she wants. proxima all feels very real, not something that can be said of flash gordon, which celebrates its 40th anniversary with a 4k restoration, playing in selected cinemas before coming to disc. # flash! # ah-ha! # saviour of the universe!# a camp cult classic, flash gordon looks even more bonkers now than it did back in 1980, with the great max von sydow tearing up the screen as ming the merciless, while brian blessed delivers perhaps the most famous line of his career. with all his men, he couldn't even kill flash. gordon's alive? ah, they don't make ‘em like that any more. that's it for this week. i'm off for a few weeks now, but anna smith will be here while i'm away with all the best new movies. thanks for watching and stay safe. are we dreaming? i'd like to think so.

hello there. the heat on friday was certainly extreme. it arrived quickly and it is going away quickly. but the heat was far and wide. we had temperatures of 37 degrees in london, 29 in edinburgh. but a significant drop on the way for saturday. for liverpool and sheffield, a drop of 11 degrees or more. the heat has been coming to an end with a bang. we've had this band of cloud coming in from the west bringing some thundery rain and we scooped up some thunderstorms from continental europe, it's been heading eastwards, out into the north sea, and behind that band of cloud, we are seeing atlantic air spilling our way and that's the reason why the temperatures will be dropping. things will feel different as we head into monday. still going to be very warm for eastern parts of england, mind you. by the time we get to the morning we have rain affecting shetland and may be a few showers coming into some other western parts of the uk. throughout the day on saturday, it's going to be a mixture

of sunshine and a scattering of showers, mainly across western areas, a few will push their way eastwards gradually through the day. much of the day may well be dry with sunshine at times and it stays dry right across the south—east and east anglia until the evening. and we'll find temperatures at 25, 26 degrees, warm but it is a cooler day everywhere in the temperatures 18 in the central belt. i'm sure the footballers for the fa cup final will appreciate the change in the weather it looks like it should be dry at wembley. more showers to come into northern ireland on saturday evening. those will push their way into scotland, we keep the cool air coming in on the westerly breeze. so temperatures overnight, saturday night into sunday morning, a little bit lower, probably a more comfortable night for sleeping — ii to 11! degrees. again on saturday, a day of sunshine, and showers. probably more showers around on sunday. especially across the northern half of the uk and some of those could be on the heavy side as well. it's continuing to cool off,

temperatures continuing to drop away a little bit, our high on sunday in the south—east is 23 celsius. more of the same on monday. same sort of temperatures, sunshine and showers, perhaps heavier showers in the afternoon for the eastern side of england. it's getting a long way away but i think around tuesday and wednesday we could be in for some wetter and windier weather. but by end of next week, probably turning quite a bit warmer once again. goodbye.

this is bbc news. welcome if you're watching here in the uk, on pbs in america, or around the globe. i'm aaron safir. our top stories: the death toll from the coronavirus outbreak in mexico has overtaken britain's. it's now the third highest in the world. cracks in the murdoch empire as rupert murdoch's sonjames resigns from the board of news corporation, citing editorial disagreements. two teenagers are among three people charged in connection with the hacking of high profile twitter users. and muslims worldwide are celebrating the festival of eid, but with coronavirus restrictions, things are different this year.