the headlines on bbc news — millions of people across the uk are facing tougher coronavirus rules. tier 3 restrictions are now in force in manchester. a firebreak lockdown starts in a few hours in wales. warrington in cheshire is the latest part of england to agree to follow the toughest tier 3 restrictions. nottingham is expected to be next. no clear winner in the final us presidential debate, but donald trump and joe biden clash over claims of corruption and coronavirus. now on bbc news, it's time for the film review with mark kermode.

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. far and away my favourite film of the week is summer of 85, the latest from francois ozon, the french director behind such diverse fare as sitcom, under the sand and by the grace of god. a bittersweet saga of love and death, it's a coming—of—age tale that moves the original setting of aidan chambers‘ source novel from southend—on—sea to le treport in france, where the death—obsessed alex looks back on his relationship with the beautiful david.

with the heady energy of an ‘80s teen pic, we watch alex falling for the friend of his dreams, being swept off his feet by david's vibrant "live fast, die young" attitude and then driven to a jealous rage by the arrival of english interloper kate. while all this plays out in flashback, it's intercut with later scenes of an apparently traumatised alex facing questions about a terrible event for which he's being held accountable, but about which he refuses to speak. gorgeously shot on 16mm, summer of 85 has the tangible texture and grain of its retro setting, albeit filtered through a nostalgic lens that seems to supersaturate the image, amplifying emotions. bookended by the sound of the cure‘s in between days, with all its unresolved hurt and longing, summer of 85 somehow combines romeo and juliet—style tragedy with the thrilling evocation of youthful passion and a strong streak of black humour,

creating an accessible film that flits nimbly between rapturous love, agonising anguish and near slapstick absurdity, quite the balancing act. it's in cinemas and on curzon home cinema now. whoa, whoa, whoa, whoa! from the sublime to the ridiculous and honest thief, a preposterously silly offering starring liam neeson, who surely has better things to do than waste his time on this sort of post—taken tosh. my girlfriend, she had nothing to do with this. i'm coming for you. having recently reminded us of his brilliance in ordinary love, neeson is back in slumming mode as tom, the bank robber with the unfortunate nickname the in—and—out bandit. no, really. i've robbed 12 banks in seven states, made $9 million in cash.

i want to turn myself in. when tom meets kate walsh's annie, he decides to put crime behind him and go straight, but only after attempting to turn himself in to the fbi. instead he's double—crossed and finds murder added to his rap sheet. so now tom has to run around chasing people, punching people, shooting people, threatening people on the phone and blowing up their houses in order to prove that he's just a really nice honest guy who should be left alone to live a quiet life. my way. perfunctorily really directed by mark williams and played by neeson with the air of a man waiting for his paycheque to arrive, this is straight—to—video fare that somehow wound up on imax cinema screens, where it clearly hopes to reproduce the success of russell crowe‘s actioner unhinged, which was pretty ropey, but looks like citizen kane when compared to honest thief. she loves me for who i am. and i love herfor who she is. and i can't wait to spend the rest of my life with her. kyle, i slept with ava.

what? what do you mean "slept"? like we sexually slept together. while no one expected honest thief to be a critic's favourite, the climb has been showered with rave reviews since making its prize—winning debut at cannes last year, and it's now in uk cinemas. mike's in the living room. he got fat, right? yeah. merry christmas. oh, my god! is that mike? he got fat. directed by michael angelo covino, who stars with his co—writer kyle marvin, it's a tragicomedy about a toxic friendship between two men — the benign and naive kyle and the poisonous, self—obsessed mike. over the course of several years, we see mike destroy kyle's attempts to be happy. can i just say... no! sleeping with the women his best friend loves, turning holidays, weddings and funerals alike into car crash disasters, all of which kyle grudgingly tolerates because, hey, they're best friends. let's go.

nobody likes her! nobody likes you, mike! i am the only one who likes you! and i don't know why cos you're loud and obnoxious and you're an ass... there's no doubting the technical eloquence with which the climb tells its misanthropic tale, with zach kuperstein‘s camera floating between characters and set—ups and extended takes that dazzle in terms of planning and choreography. kyle, listen to me — it's your choice, but i wouldn't do it. but it's also quite an irritating story about irritating characters whose irritating foibles are meant to seem profound and insightful, but are in factjust kind of irritating. i'm a bad friend. oh, my god, mike, are you serious? like the similarly lauded chuck & buck, of which this put me awkwardly in mind, the climb demands a huge amount of audience tolerance for men behaving badly — to themselves, to each other and to the women whom the film paints in consistently unsympathetic terms, in stark contrast to the reservoirs of patience

reserved for its male leads. like not in our lives. but he's my friend. hey... hey to you, too. not so pixie, in which olivia cooke plays the titular hellraiser who finds herself embroiled in a blood—spattered, gun—toting, drug—fuelled caper featuring armed priests, hapless sidekicks and mayhem aplenty. it's way too big for you, trust me. oh, sorry, mr pablo escobar! welcome to sligo! pixie! directed and written by father—and—son team barnaby and preston thompson and boasting an all—star cast including colm meaney, dylan moran and alec baldwin, pixie wears its inspirations on its sleeve, with a bit of quentin tarantino here, a nod to martin mcdonagh there and a soundtrack by gerry diver and david holmes that juggles west of ireland western inflections with ocean's—style heist movie beats.

now that sounds like a lot of fun, but the film never quite lives up to the promise of its pitch. for one thing, the script is nothing like as sharp as it needs to be, lacking the killer punch of the superior movies to which it owes a debt. it's also self—consciously slick, although beneath the stylish surface, there's not much going on beyond the overcooked zaniness. where's the money? on the plus side, cooke, whose impressive cv ranges from me and earl and the dying girl to the limehouse golem and ready player one, does a pretty good job of holding it all together, injecting some much—needed heart and soul into the proceedings. beautifully put, frank! you can find pixie in cinemas now. i want to play out of doors. it was too hot to do so in india. i'm obliged by law to have you taught. then we'll need to break the law, won't we? frances hodgson burnett's 1911 novel the secret garden has inspired several movies, ranging from a silent

production starring lila lee to agnieszka holland's superb ‘90s adaptation. now there's a new version in cinemas and on sky cinema, revisiting the novel's theme of the redemptive power of nature, which seems all the more relevant in these testing times. dixie egerickx is the recently orphaned mary, sent from india to live in england with her widowed uncle archibald, whose son colin has long been kept hidden and bedridden. but a buried key to a magical garden unlocks healing secrets, bringing about change and rebirth. screenwritten by the prolific jack thorne, whose recent credits include the aeronauts, radioactive and tv‘s the eddy, this update relocates the story from the turn of the 20th century to 1947, in the shadow of world war ii and partition. other significant changes include a more sympathetic portrait of mary's parents and the introduction of a ghostly climax which seemed

to me to draw inspiration from the amazing mr blunden, one of my favourite movies of all time. cleaving closely to mary's subjective point of view, marc munden‘s update combines real locations like trebah in cornwall with cg visuals to evoke a magical garden that may be more a product of its heroine‘s imagination than reality. but we also lose a central theme of the novel, that it's only by toiling away in the garden that mary can unlock its restorative power. here the relationship is much more one—sided, with the garden just magically healing those who enter. the result is a peculiar mix of ambiable enchantment and missed opportunities, a likeable film, but not one that has the classic status of its source novel or indeed of holland's adaptation, which for me remains definitive. off you go. that's it for this week. thanks for watching the film review. stay safe, and i'll see you next week. when? when did you sleep together?

i don't know the exact dates. ididn't... dates?! dude, slow down. you should pace yourself. ahh! we have seen a band of rain moving eastwards today, it opens the door to much more unsettled weather through this weekend and into next week. another band of rain this weekend will be followed by sunshine and showers, accompanied by some much stronger winds, all coming in from the atlantic. wet and windy weather on saturday, with rain coming from eastwards today, becoming lighter as it pushes eastwards. the last of the rain moving away from south east of england this evening, then clear skies for a while. then the next era of cloud comes in, bringing rain into northern ireland and western scotland, the winds will be stronger than last night.

there may be a bright start tomorrow across the midlands and eastern england, but that band of rain made eastwards and will be heavier. this could be an intense burst of rainfall accompanied by gusty winds before sunshine follows on behind. it will be a windier day on saturday, particularly gusty winds as that rain moves through, winds then ease of a little bit and sunshine follows. ahead of the rain, temperatures are 17 degrees in the south east of england. rain and through the evening could be quite heavy before clearing away, the clocks go back on saturday night. low pressure remains to the north—west of the uk. it will be windiest. most of the showers for southern and western parts of england and into wales, colder air on sunday

so temperatures back down to 11—14. into next week, low pressure still close to northern parts of the uk, not as deep so winds are not as strong around it. blustery winds still blowing in showers for a while into northern ireland, across scotland and into england and wales. some showers could be heavy and thundery before they ease off through the afternoon, there will be some spells of sunshine outside of those showers. watch out for tuesday and wednesday, it could get very windy in many places.

tougher coronavirus restrictions are introduced in large swathes of the country. right now a national lockdown has just begun in wales. over 3 million people there, whether in a low infection area or a high one, will be in underfull restrictions now for 16 days. it comes as the latest figures show a continued rise in infections across the uk. also this evening... also this evening... also tonight, scotland is to introduce five new tiers of restrictions from november 2nd. different areas are waiting to see where they'll be. in england, greater manchester is now in the toughest tier and south yorkshire will join it at midnight. we don't want any more lockdowns, we don't want any more lockdowns. we want to be free. i'm not going to be locked