think, and that trump will go. but i think, as he says, there's a very good chance he won't accept that. i think what there will need to be is a landslide for biden, which i still think is quite a serious possibility. although there's a difference in polling, we can see in the british papers tomorrow, you have the ft saying that the polls are barely changing, the story they're talking about here in the key states, pennsylvania and florida, but the times are saying that biden's lead is narrowing a bit and that democrats are still very worried about the next few days. obviously they still remember the clinton disaster. so yeah, it is not in the bag for biden, and i think they must be praying for a real landslide because that's the only thing which might get rid of trump for good. 0k. olivia and rob, thank you both very much indeed. most of the papers today do have a picture of sir bobby charlton with news he's

been diagnosed with dementia. but thank you very much and thank you for watching. this is bbc news. cheerio! 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. in the terrific new brit pic mogul mowgli, riz ahmed plays zed, a british pakistani rapper on the brink of his first world tour. he raps.

cheering. he raps. but when zed is struck down by debilitating sickness, he finds himself facing a future as uncertain as the identity he struggles to define. torn between dreams of success and loyalty to his roots, zed becomes haunted by magical realist visions interwoven through the fabric of this urgent urban drama. if you want me back to where i'm coming from... directed by feature first—timer bassam tariq from a script co—written by actor and musician ahmed, mogul mowgli is as enigmatically hard to define as its central character. i tried to stand up for my blood. my blood won't let me stand up.

riz ahmed himself has called it a sufi horror musical with elements of comedy about family ties and generational divides, while others have variously described it as a streetwise thriller, a rap feel tone poem, and a modern spiritual odyssey. whatever you call it, mogul mowgli is an impressively unpredictable hybrid that grabs the audience's attention and draws us deep into zed's highly personal experience. finding a balance between explanation and intuition, the film—makers trust their audience to keep pace with the shifting narrative, finding universal themes in the details of zed's specific story. it's a genuinely unique work, and i advise you to seek it out in cinemas. he raps. now, this being halloween weekend, there are several films on offer with a seasonal horror theme. when was the last time you spoke to her? it's been a few weeks.

top of the pile is relic, the extraordinary debut feature from natalie erika james which offers a spine—tingling, heartbreaking tale of a woman with alzheimer's becoming lost in the labyrinthine corridors of her mind and her home. tea? emily mortimer is kay, the somewhat distant daughter of robyn nevin‘s edna, who lives alone in a remote woodland house in victoria, australia. when edna goes missing, kay and her daughter sam, played by bella heathcote, hurry to the increasingly decrepit family home, where edna mysteriously reappears with no memory of where she has been. do you know where you were, mum? i suppose i went out. kay wants to move her mum to a care home in melbourne, but dreams of a cabin riddled with creeping black mould and edna's own belief that there is someone else in the house lead our protagonists deeper and deeper into the dark heart of her condition.

like its australian stablemate the babadook, relic — which is co—written by christian white — is a horror movie with a heart, a film that uses its surreal narrative to tell a story that is absolutely rooted in reality, in the tensions, anxieties and projections of child parent relationships, and in the bewildering spectre of dementia. describing her film as dealing with the terror of grieving for the loss of someone while they're still alive, james conjures a superb chiller that's both profoundly scary and also profoundly moving. there are echoes of the psychogeography of edgar allan poe's fall of the house of usher, along with the dream logic of david lynch's eraserhead. but it's the awesome sense of longing, loss and ultimately love that is the film's strongest suit, putting it in the same category as hideo nakata's masterpiece dark water, which similarly blended tears with fears to absolutely overwhelming effect.

gran, you're bleeding. i can do it myself. you've hurt yourself... no! stop! get out of here! get out, get out! it's my room, it's my house! get out! relic, which is released under the prestigious fright fest presents label, is one of the films of the year. it's available in cinemas and on digital now. eerie whispering. from australia to britain for another very impressive feature debut that blends surreal horror with social realism. congratulations. you are being released as asylum seekers. not as citizens, not yet. written and directed by remi weekes, his house, which opened in cinemas last week and is now on netflix, finds a sudanese refugee couple forced to live in a rotting house

on a bleak and inhospitable estate. told that they must stay here or risk arrest and deportation, the pair soon discover that they are not alone in the house, that guilty secrets lurk within its walls. as long as you can get along, fit in, be one of the good ones. was this dark force there already? did the couple bring it with them? and most importantly, can they live with it? i saw something. brilliantly dramatising its central sense of displacement and alienation, his house asks what it means to belong somewhere, to have to assert your right to live in your home, even when that home turns upon you. tonally, this reminded me of babak anvari's under the shadow, in which a mother and daughter are trapped in a besieged tehran apartment, or of mati diop‘s atlantics, in which ghostly apparitions haunt a tale of imperilled senegalese migrants. matt smith is the housing officer who tells the couple to just fit in, but it's sope dirisu

and wunmi mosaku who carry the film, making us care about their plight and share their dreams and nightmares. this is my house! one of the greatest horror novels of all time, the haunting of hill house, was written by shirley jackson, herself the subject of the new film shirley byjosephine decker. i'm well within the bounds of our agreement. hm... our agreement didn't include sluts interrupting my dinner. handmaid's tale star elisabeth moss plays jackson as a brittle, unstable presence who shares a toxic dependency with husband stanley, reminiscent of who's afraid of virginia woolf? into this household comes odessa young's rose, a pregnant young newlywed whom the author initially torments and ridicules. oh, so the writing's going well, then? please don't ever ask me that again. but as shirley starts to write a story inspired by the real—life disappearance of paula jean welden, rosie and paula's identities begin to overlap with

disorienting consequences. you are hiding something. based on a novel by susan scarf merrell, shirley is not a conventional biopic. rather, it's a work of fiction mixed with some fact that attempts to paint a screen portrait of shirley jackson that somehow echoes the tone of her eerily inimitable writing. you're getting on well with the wife. you don't want my work to suffer, too, do you? i'm not one for dramatics. inevitably that's a near impossible task, and there are plenty of moments when shirley proves as patience—testing as its embittered and frequently unlikeable subject. but there's something admirable about a film which is willing to take these kind of risks, indulging in the same strange character transfers that were a key part of jackson's poetic literature and giving moss the chance to tear up the screen as an enigma who proudly calls herself a witch.

you're really scraping the barrel these days. the result may not be a great film but it is brave, and i suspect it would have raised a cynical chuckle from jackson herself. it's in cinemas and on curzon home cinema now. i know about witches. they're real! roald dahl‘s1983 novel the witches was memorably filmed by nic roeg in 1990, an adaptation notable for its weird atmosphere and for its botched finale which wimped out on the source material. now, back to the future director robert zemeckis has cooked up a new version of the witches which moves the action to ‘60s america. when young orphan charlie hanson goes to live with his grandma agatha, played by octavia spencer, she teaches him that witches are real and takes him to the fancy—schmancy hotel where a spectacular showdown of mice and men ensure.

originally envisaged as a stop motion animation to be directed by guillermo del toro, who now shares screenwriting credit, this live—action cg heavy roller—coaster romp lacks the beautiful strangeness of roeg's version, with anne hathaway's strangulatedly scandi inflected grand high witch proving no match for anjelica huston‘s legendary incarnation. what happened to us? elsewhere, there's plenty of stuart little style kinetic mouse action, but little of the eeriness which made dahl‘s source such an anarchic treat. yet, for all its flaws, this does at least follow through on the promise of the source story, a reason to be cheerful. originally intended for cinema release, it's available now for rental on a range of streaming platforms. you're a wolf when you sleep... a girl when you're awake. robyn! something's happened to me. yeah, i can see that. flipping great! i'll leave you with news of something altogether more original — wolfwalkers, the latest jaw—dropping animation

from cartoon saloon, the kilkenny—based company behind secret of kells and song of the sea. sean bean provides the voice of bill goodfellowe, a i7th—century hunter who takes his daughter robyn to ireland, where simon mcburney‘s cromwellian lord protector commands him to rid the forest of wolves. but when robyn befriends a young wolfwalker, who is a girl when awake, a wolf when asleep, she unlocks a transformation that will place her and herfather in grave danger. co—directed by tomm moore and ross stewart, this gem of a movie runs in the tradition of the films like miyazaki's princess mononoke or hosoda's wolf children, an adventure centred on the forging or breaking of an essential bond with nature. it's a thrilling, empowering, life—affirming tale that will dazzle viewers young and old alike. it's in cinemas nationwide now. that's it for this week. thanks for watching the film review. i'll be back in a fortnight. next week, it's anna smith.

gran? hello. there's some drier and colder weather on the horizon. notjust yet, more rain in the forecast through this evening and overnight, courtesy of this frontal zone draped across parts of southern scotland into wales, north and west england, shows that the north will continue to fade, a lot of clouds and patchy fight or light rain at times. very mild here, 14—16 celsius that will feel cooler further north. rain to fizzle out but more showers piling in from the west which like to merge to give longer spells of rain, particularly through parts of england again into wales, northern ireland, southern scotland. elsewhere, bits of sunshine and showers another windy day with gusts reaching a longer coast, starting to feel a bit cooler tomorrow as well, 8—11; celsius.

still that rain piling in the night. for tuesday, a mixture of sunshine and showers, some persistent rain across southern england for a time but after that turning dry and colder. bye— bye.

this is bbc news. i'm samantha simmonds with the latest headlines for viewers in the uk and around the world. donald trump and joe biden embark on a final dash around crucial swing states, appealing to voters ahead of tuesday's election. to save the america we love get every last person you know, get them to the voting booth in record numbers. vote, vote, vote. we need to get every soul in philadelphia to the polls. your voice, your vote matters. your voice, your vote matters. your voice deserves to be heard.