late last year, so brexit election late last year, so curious, he has got these people. he is going to be dealing with a whole load of complaints, post brexit re—flourishing, going to be leveling up re—flourishing, going to be leveling up all the country. the other thing that's interesting as well, it is, is the same bbc moving offices out of london —— the same time as... caroline, i'm going tojump in. you have done an amazing job of spinning plates for us, but thank you so much, as ever, tony and caroline. thank you, both. thank you. you have been watching bbc news. stay with us because coming up next, it's the film review.

hello and welcome to the film review with me, mark kermode, rounding up the best movies available for viewing in cinemas and in the home. over the years, there've been a plethora of movies called les miserables. from the 1935 best picture contender starring fredric march and charles laughton, through the 1958 adaptation hailed as one of the first french blockbusters, to the more recent adaptation of the hit stage musical which proved that, whatever else he can do, like running you over with a big truck, unhinged star russell crowe really cannot sing. at all. # leave it all in flames...#

the latest film to take its title from victor hugo's 19th—century novel is a cesar—winning contemporary urban drama that was oscar—nominated for best international feature, a streetwise tale of dispossessed masses brought once again to the brink of rebellion. writer—director ladj ly‘s film largely plays out in montfermeil, immortalised in hugo's novel, where a new member of the anti—crime unit learns about the neighbourhood's rival factions from two colleagues whose methods blur the line between policing and harassment. when a drone camera captures

video footage of a violently botched arrest, tensions between police and residents reach boiling point, threatening to throw everyone in the lions' den. building on his 2017 short film, ly‘s feature debut presents an admirably un—cliched view of life, as vibrant and diverse as that of celine sciamma's girlhood. in stark contrast to the monochrome hues of mathieu kassovitz‘s 1995 masterpiece la haine, which gets the 25th anniversary re—release next week, les miserables is lensed in vivid colour by cinematographer julien poupard, whose cameras sneak in and out of the action, in this tangibly real world. there are echoes too of the pressure cooker structure of spike lee's do the right thing and the even—handed verite grit of david simon's ground—breaking tv series the wire. taking care never to paint its complex characters in simple black—and—white strokes, les miserables slips stealthily from astute

observation to urgent action, reminding us all the time of hugo's maxim that there is no such thing as bad plants or bad men, only bad cultivators. les miserables is in cinemas now and i urge you to seek it out. it's snowing. winter is coming! we have a real connection. a rare and intense attachment. i've never experienced anything like it. i'm thinking of ending things. huh? charlie kaufman is the screenwriting genius who won a bafta for being john malkovich, another for adaptation, and a third for eternal sunshine of the spotless mind, for which he also nabbed an oscar. he's fared less well as a director, with 2008's synecdoche, new york polarising critics and bombing at the box office, earning less than a quarter of its $20 million budget. we'll never know if kaufman's

critically feted latest proves more popular, since it's released direct to netflix. their audience figures are a closely—guarded secret. i'm visiting jake's parents for the first time. the typically solipsistic story centres on a snowy road trip taken by young couple played byjesse plemons and jessie buckley. we're here! toni collette and david thewlis are the mum and dad whose age changes between scenes and whose remote farmhouse seems to be the stuff of dreams or nightmares. what exactly is going on? and more importantly, do we care? well, in the case of ian reed's short source novel, the answer is yes. not least because the twilight zone with a—levels narrative rushes towards a page—turning third act, in which cod psychology meets psycho splatter. you don't have to go. i don't have to go where? forward. not so the movie, which sheds the trashy treats of reed's book, replacing stalk—and—slash thrills with sombre song—and—dance theatrics, turning a potboiler

into a chin—stroker. aimed, as boris grushenko might say, "more at the head than the heart". it's a credit to the brilliant jessie buckley that she manages to breathe such human life into what is essentially a cypher role. buckley, who commanded the screen in movies as diverse as beast and wild rose, works wonders, ensuring that this generally remains more intriguing than irritating. generally. if the absence of unsettling horror in kaufman's movie proves disappointing, then fear not — creepy thrills await in the swedish—danish thriller koko—di, koko—da, which is available on bfi player, blu—ray and digital download on monday.

traumatised by tragedy, a bereaved couple go on a woodland camping trip in a bid to save their marriage. but having bought a music box as an eighth birthday present for their daughter, the pair find themselves stuck in a nightmarish loop of grief, terrorised by a troop of fairy tale characters depicted on the side of the aforementioned gift. built around a nursery rhyme that will get into your head and taunt you for days, this blackly comic oddity was brilliantly described by my friend and colleague trevorjohnston as a weird version of groundhog day and funny games, a phrase i wish i could claim as my own. it's deeply troubling and frequently very nasty stuff, rated 18 for sexual violence and threat, although it's the twisted echoes of heinrich hoffmann and the brothers grimm that really got under my skin. i'm going to ask you a series of questions. i want you to respond truthfully.

there's a hint of horror at play in the new mutants, the long—delayed addendum to the x—men series that was meant to launch a new trilogy but seems to be more of a full stop. # we don't need no education...# co—written and directed byjosh boone, who made the fault in our stars, and pitched as "the breakfast club in a cuckoos' nest institution", it centres on the new generation of mutants being held in a secret facility run by alice braga's authoritarian doctor reyes. with a talented top line cast, including anya taylor-joy. maisie williams and newcomer blu hunt, the new mutants was shot back in 2017 with an eye on a 2018 opening. but as executives swithered over whether they wanted a horror movie or a ya romp, and fox was acquired by disney, reshoots were planned and then dropped and everyone moved onto other things.

it sounds like a recipe for disaster, and the film which finally opens in uk cinemas three years after principal photography is indeed something of a mishmash — but it's not a total disaster. boasting an lgbt—friendly narrative, some likeable performances, most notably for maisie williams, and a few creepy moments which redeem it from the silliness of scenes in which our heroes do battle with a giant cg demon bear. that thing will kill you. he's right, it's magic. so am i. loyal, brave and true. while the new mutants may be getting a cinema release, the more high—profile mulan has ruffled industry feathers by going straight to disney+, where it's available to rent forjust shy of 20 quid in addition to the cost of channel subscription. directed by niki caro, best known

for the 2002 film whale rider, this live—action remake of disney's ‘905 animation has been cited as the most expensive movie ever directed by a woman. unlike such recent house of mouse remakes like beauty and the beast, this new mulan isn't a musical — although music plays a key role — nor does it feature a talking dragon. it is my duty to fight for the kingdom. instead, it's a sumptuously attired coming—of—age adventure with martial arts action and much splendidly cinematic scenery. but you can't help wishing you were watching at a big screen. still, unlike so many disney reboots, mulan is very much its own film, looking back to the chinese folk story which inspired the original animation and taking it in a direction that's different enough to justify its existence. whether this straight—to—home viewing release can also justify its cost, reported to be around $200 million,

remains to be seen. at the other end of the financial spectrum, socrates, which was made for under $20,000, is a striking brazilian feature about a 15—year—old isolated by his sexuality and facing destitution following the death of his mother. playing in selected cinemas and also available on digital platforms, this is the first feature produced by the caro institute in brazil, where it was co—written, produced and acted by at—risk teenagers from low—income communities with the support of unicef. the result is a remarkably moving and accomplished film that combines the smack of verite realism with a poetic and ultimately redemptive sensibility. a mere 70 minutes in length, this urgent heartfelt drama packs more truth and insight into its compact running time than many, if not most,

of its more mainstream competitors. that's it for this week. thanks to anna smith for holding the fort so brilliantly in my absence, thanks to you for watching, and i'd like to end this show by adding my voice to those mourning the loss of chadwick boseman, a remarkable and inspirational figure who lit up the screen in a string of movies from marshall, and 42, to get on up, 21 bridges, da 5 bloods and, of course, black panther. king t'challa! it's an extraordinary body of work, with a final film — ma rainey‘s black bottom — still to come from one of cinema's most admired and most loved modern legends. my king. wa kanda forever! all: wakanda forever! hello there.

we've got mixed weather fortunes to come through monday. across the north and west of the uk, it's going to be a cloudy day with outbreaks of rain and also becoming quite windy for a time. the rain never really reaches the southeast of england, so, here, after a sunny start, things will probably tend to cloud over somewhat, but it should stay dry and bright. so, in detail, we can see the rain from scotland and northern ireland moves into parts of northern england and wales through the day. after a sunny start for most in england, yes, things will tend to cloud over, but across east anglia and south east england, we'll probably keep bright skies throughout. and it should stay dry here. temperatures up to 20 degrees. eventually, we might see some brighter weather pushing into the far northwest late in the day. now, tuesday looks like being a pretty cloudy day. it's going to feel more humid, and that humidity could bring a few patches of drizzle around some of our western coasts and hills. but where the cloud does break, it will become warm, with spells of sunshine and temperatures quite widely getting into the low 205. tuesday promises to be our warmest day of the week.

this is bbc news with the latest headlines for viewers in the uk and around the world. i'm nancy kacungira. more than 100 people are detained in belarus during the latest protests against the disputed re—election of president lukashenko. people who've come here today are talking not just about having a grievance about the election itself, but many have turned out because they're so upset about the crackdown, the response to the demonstrations. first a war, now a pandemic. we report from inside yemen as the country struggles to cope with tragedy upon tragedy. reports emerge that the uk government is considering overturning part of the brexit withdrawal deal, jeopardising trade negotiations. and novak djokovic is kicked out of the us open after