in cinemas and in the home. last year, the british feature rocks, which boasts an ensemble cast of brilliant young screen newcomers, played to rapturous applause at the london film festival. now it's opening in uk cinemas. rocks, what's p diddy and 50 cent — what's that all about? i want to be like p diddy and 50 cent. but you have to think about specifically, what type of career? entertainment business. business, now you're getting it. what type of business? makeup. overlapping chatter. bukky bakray is the titular 15—year—old east londoner who returns home from school to discover her mother has abandoned her and her young brother, emmanuel. determined to avoid being taken

into care, rocks attempts single—handedly to fend for the pair, scuttling them between friends‘ houses and cheap hotels while maintaining the outward appearance of a normal life. how's your mum doing? yeah, she's fine. but as pressures mount, our heroine finds herself shutting out the friends — like kosar ali's sumaya — upon whom she once relied, becoming more and more isolated with each passing day. written by theresa ikoko and claire wilson, directed by sarah gavron, who made brick lane and suffragette, rocks is a uniquely collaborative production born out of workshops with young people at a range of schools and youth hubs. the result is a team effort that rings true. everything about these teenagers‘ lives has the smack of authenticity — from their hardscrabble battles for survival to exuberant classroom food fights and scenes of raucous laughter, and cross—cultural kinship. sensitively lensed by helene louvart, who shot the remarkable

never rarely sometimes always, rocks combines the grit of ken loach‘s cathy come home with the visual poetry of the selfish giant, and the girl—power oomph of celine sciamma's girlhood. "real queens fix each other‘s crowns," says a bedroom wall sticker in rocks — and that's a message that rings throughout this wonderful, heartbreaking, life—affirming gem of a movie. do not miss it. from the streets of contemporary london to shanghai's besieged sihang warehouse in 1937, where the chinese army mount a last stand against japanese forces in the historical war drama the eight hundred. the warehouse in question stands on the banks of the suzhou creek across the water from shanghai's foreign concessions from whence locals and western powers alike

watch the battle play out, making weird theatre of warfare. directed by guan hu, best known for 2015's mr six, and produced by the huayi brothers, the eight hundred — which has been dubbed a chinese dunkirk — has spectacle to spare, shot on vast sets captured on imax cameras at a reported cost of around $80 million. it's visually impressive stuff, but it's not been without controversy. originally set to open the shanghai film festival in 2019, the eight hundred was pulled at the last moment for "technical" reasons — often a euphemism for censorship issues. according to the industry newspaper variety, local reports indicated that it may have been pulled because "it didn't portray rivals of the ruling communist party in a sufficiently negative light." a year later, with changes and cuts duly made, the eight hundred finally opened in china where it promptly became a resounding hit — outperforming tenet

and providing a huge boost for china's cinema industry. whether it'll prove as popular with uk audiences, many of whom may know little of the second sino—japanese war, remains to be seen. but the film provides a heady, if somewhat cumbersome mix of kinetic action and philosophical quandary — there is much discussion about authority, desertion, self—sacrifice and heroic defeat — all played out against the bizarre backdrop of two utterly disparate worlds divided by a simple stretch of water. both: whoa! for those in the mood for something altogether more playful, what better way to lift the spirits than in the company of william s preston, esq and ted theodore logan — aka alex winter and keanu reeves? both: hey, death! why, if it isn't the wyld stallyns.

back in 1989, bill and ted's excellent adventure introduced us to wyld stallyns, whose terrible guitar—twiddling music would apparently improve so much that it would go on to unify the cosmos. but two movies and three decades later, our now—ageing antiheroes still haven't written the song that will save reality as we know it. so it's now time for bill and ted to face the music in a belated but delightedly bonkers threequel. penned by original writers chris matheson and ed solomon, the script picks up with bill and ted still plugging away at their dreams — to the dismay of their respective wives. greetings, my excellent friends. when kelly, daughter of time—traveller rufus, arrives from the future to tell the boys that time and space are collapsing, they're faced with a deadline of 7:17pm to write the ultimate song. so they venture back into the cosmic phone booth, travelling back and forth in time as they round up historical musicians and meet their future

selves, while being pursued by a killer robot called dennis, reuniting with death and dropping into the pit of hell. how you doing? well, you know, dead. and we're in hell. this time, bill and ted have daughters, billie and theo — played by bridget lundy—paine and samara weaving — who embody the best of their dads‘ lovable traits with none of the bogus baggage. having been released simultaneously in theatres and on vod in america, bill and ted face the music gets a cinema—only release here in the uk — and i‘m delighted to report that it‘s a hoot. it may be a total shambles that makes no sense whatsoever, but i grinned like an idiot from start to finish. and, in these testing times, that‘s a real treat. now, back injune here on the film review, i alerted you to online preview screenings of white riot — the terrific documentary about the birth

of rock against racism in the ‘70s which is now playing in uk cinemas. it was a scary moment, cos punk could‘ve gone either way. formed in response to an infamous "enoch was right" tirade by eric clapton in birmimgham in 1976, rock against racism set out to challenge a tide of bigotry epitomized by the rise of the national front, using music that could unite black and white youth in a fight for equality. it's music that knows who the real enemy is. building from fanzine routes to a network of local gigs that climaxed in a legendary victoria park anti—nazi carnival in 1978, featuring steel pulse, x—ray spex, the clash, and the tom robinson band, this was a grassroots movement that earned its place in the history books — a place that seems particularly relevant in the current climate. we weren't superheroes, we were just ordinary people. mixing contemporary interviews with a wealth of archival footage, this award—winning documentary is an invigorating affair that captures the sheer energy and passion with which rock against racism attempted

to change the world on little more than a wing and a prayer. now you remember what i told you. about them boys on the bus that gave you the black eye. that‘s what i meant. just gotta pick the right time. y—yes, sir. there‘s plenty of prayer — most of it unholy — in the devil all the time, a sprawling, star—studded slice of southern gothic neo—noir adapted from donald ray pollock‘s 2011 novel, and available exclusively on netflix. set between the end of world war ii and the escalation of the war in vietnam, the action moves back and forth in time as the interweaving narratives slip between cold creek, west virginia and knockemstiff, ohio. this was your daddy's. at the centre of it all is arvin russell, whose father returned from the war haunted by visions of battleground

crucifixions, and whose path crosses with hillbilly preachers and serial killers — all of whom love to quote the bible. hunger and thirst for righteousness. the international ensemble cast includes tom holland — best known for playing spider—man — bill skardgard, who scared everyone to death as the killer clown in it, riley keough as a murderous seductress, robert pattinson as a philandering preacher, and mia wasikowska as the poor soul with a fatal trust in religious authority. directed by antonio campos — taking a major step up from such previous features as simon killer and christine — this unwieldy epic is broodingly lensed on 35mm by versatile cinematographer lol crawley, who perfectly captures the darkness that seeps through each disparate scenario. and, though he wasn't one for praying, arvin would often drive herand keep her company. but it‘s the voice of author donald ray pollock that really holds things together, with his narration leading us through the labyrinthine plot twists

and capturing the mix of horror and humour at the heart of this deliciously ripe melodrama. excuse me, preacher. you got time for a sinner? is nature a gigantic cat? and, if so, who strokes its back? i‘ll leave you with news of a new movie that comes to digital download on monday — michael almereyda‘s tesla. ethan hawke stars in this latest film about the inventor of alternating current, an adventurously theatrical affair involving anachronistic laptops, google searches, and pop tunes all intended to dramatize the way that tesla somehow dreamed the future in which we now live. alternating current is a waste of time... ..impractical... ..and deadly. kyle mclachlan is thomas edison, the ruthless businessman whose rivalry with tesla causes sparks to fly. having been memorably

played by david bowie in christopher nolan‘s the prestige, tesla emerges once again as a figure of mystery and magic in this eccentrically offbeat oddity. it‘s a strange, anarchic film — and not wholly successful. but, compared to the inert dreariness of the current war, i‘ll take almereyda‘s wild experimentations — which include tesla singing tears for fears hits — any day. that‘s it for this week. thanks for watching the film review. stay safe, and i‘ll be back next week. is he playing hopscotch...by himself? dude, he‘s cheating. good evening. no shortage of september sunshine for most parts of the uk this weekend. tomorrow promises to be another largely dry and rather warm day, with some spells of sunshine. but there have

been some exceptions this weekend stop on the satellite picture, you can see the cloud on the channel islands and south—east england, bringing some showers was that we also have some cloud rolling in from the north sea, moving it across central and southern scotland and north—east england through the night. we keep quite a lot of cloud through the far north and north—east of scotla nd through the far north and north—east of scotland as well. in between, clear skies allowing it to get chilly for some. for the majority, it is going to be a mild night, still quite breezy towards the south. we keep the breeze tomorrow, still possibly one or two showers in southern england and the channel islands, but most places dry with some spells of sunshine. in the cloud across scotland, i am hopeful that will retreat, so some spots should brighten up. for many north sea coast, quite great and murky. just 15 degrees in newcastle. for much of england and wales, sunny skies with 25 degrees in london.

still quite breezy towards the south and possibly still the odd shower through the afternoon across the channel islands. through sunday night and into monday, we are inspecting low cloud and fog to develop across central parts of england, down towards the south, parts of wales as well. light winds allowing that murk and fog to develop. it will clear through monday, most of us having another fine day. some rain it in north—west scotland. 1a to 2a degrees the top temperatures, but temperatures are set to tumble later on in the coming week. things become much more u nsettled week. things become much more unsettled around the middle part of the week, low pressure becomes dominant. this frontal system providing outbreaks of rain, some brisk winds for a time and does this area of low pressure roles its way through, there is likely to be a period of very, very chilly weather with northerly winds blowing down across the british isles. some uncertainty about how long that chilly weather will last. you can see the temperatures really taking a

tumble through the week ahead, and it turns more unsettled with wind and rain at times.

this is bbc news. the headlines at seven... boris johnson considers tightening covid—19 measures in england. latest figures show a further 11,1122 confirmed cases of coronavirus in the uk, the highest daily rate since may. local lockdown restrictions have come into force in some parts of the uk with bars and restaurants closing early in north east england. ijust think people are going to go out during the day now instead of going out at night. so it‘s not going to really change anything. it is good because it is saving peoples lives, bad because it is affecting our nights out. tributes are paid to the pioneering us supreme court judge and champion of women‘s rights, ruth bader ginsburg, who has died at the age of 87. president trump says he‘ll nominate a conservative replacement "without delay", with implications for