after years of really commented, after years of really amazing journalism by the sunday times, the financial times, and story after story in recent weeks. as you say, cameron still insists he was right to lobby for greensill even hugo he mentions he shouldn't have texted the chancellor about it —— even though. sir alastair grey and the former chairman of the committee for standards in public life said it was the biggest lobbying scandal in a generation and that cameron had tarnished british politics. so the question remains how a private individual was able to get a private company so close to the public sector and the people in charge of the pandemic response. you know, people try to influence the government all the time, but to go for a private drink with the health secretary is really on another level. , �* , ., ., ., level. sorry, i'll try that again. thank you _ level. sorry, i'll try that again. thank you both _

level. sorry, i'll try that again. thank you both very _ level. sorry, i'll try that again. thank you both very much - level. sorry, i'll try that again. thank you both very much forl level. sorry, i'll try that again. - thank you both very much for being with us, it's a real pleasure, it's too late at night, i'm so sorry. it's lovely to have you both with us, thank you very much for bearing with us. thanks for your time and expertise looking at the papers, and we look forward to speaking to you both again, whether in new york, london, orwhereveryou both again, whether in new york, london, or wherever you are. both again, whether in new york, london, orwhereveryou are. i suppose i should ask you, what do you most want to be doing come tomorrow, each of you? i’m you most want to be doing come tomorrow, each of you? i'm lucky that i can — tomorrow, each of you? i'm lucky that i can pretty _ tomorrow, each of you? i'm lucky that i can pretty much _ tomorrow, each of you? i'm lucky that i can pretty much - - tomorrow, each of you? i'm lucky that i can pretty much - the - tomorrow, each of you? i'm lucky that i can pretty much - the first. that i can pretty much — the first thing _ that i can pretty much — the first thing i_ that i can pretty much — the first thing i did — that i can pretty much — the first thing i did when i realised i could hear_ thing i did when i realised i could hear was — thing i did when i realised i could hear was get my haircut, i know a lot of— hear was get my haircut, i know a lot of people will be looking to do that _ lot of people will be looking to do that i _ lot of people will be looking to do that. ., , ., . lot of people will be looking to do that. ., , . . ,., ., 4' lot of people will be looking to do that. ., , ., . | that. i got my haircut booked. i think booking _ that. i got my haircut booked. i think booking is _ that. i got my haircut booked. i think booking is the _ that. i got my haircut booked. i think booking is the secret. - that. i got my haircut booked. i think booking is the secret. we | that. i got my haircut booked. i - think booking is the secret. we were talking to a hairstylist earlier who said that there are only appointments available at her salon for another month and a half. that's it from the papers. thanks to both of you. from all of us here, have a good night.

hello, and welcome to the film review with me, mark kermode, rounding up the best new movies available for viewing in the home while we look forward to cinemas reopening in may. this weekend, it's the baftas, at which the oscar best picture contender sound of metal is up for a number of awards including best actor for riz ahmed. your hearing is deteriorating rapidly. it will come back. untilthen, wejust keep going, 0k? ahmed plays ruben stone,

a drummer working in a noise metal two—piece with olivia cooke's singer—guitarist, whose life is turned upside down when his hearing suddenly fails. terrified, ruben attends a rural retreat run by paul raci'sjoe where the possibility of a new life seems to be offered. but will ruben�*s desperation to regain his hearing thwart his future growth? a labour of love from director and co—writer darius marder, sound of metal has its roots in derek cianfrance's unfinished docu—fiction project, metalhead, which was to have starred american sludge—metal dquucifer. taking on the lead role in marder�*s film, ahmed, an accomplished actor and musician who recently shone in mogul mowgli, not only had to learn to play the drums but also to become fluent in american sign language — a challenge which he says taught him how to listen. i was wondering, joe,

i don't know if it's possible. but. . .i need money. just to buy back my rv. there's something sublime about watching a performer of ahmed's calibre step up to the next level, as if his craft has been amplified by learning this new language. he's never been more expressive or engaging. you look and sound like an addict. plaudits, too, to bafta and oscar—nominee raci, a veteran of stage and screen who was raised by deaf parents and described asl as "my native tongue". as for marder, he conjures a world where every detail rings true, aided by a superb sound design team who brilliantly capture ruben�*s changing aural experiences as he wrestles with addiction and identity.

the result is an extraordinary film that you can find on amazon prime video from monday, and then in cinemas when they reopen in may. in the eerie argentine drama, a common crime, elisa carricajo plays cecilia, a teacher whose life unravels in the wake of a tragedy that's uncomfortably close to home. when kevin, her housekeeper�*s teenage son, mysteriously knocks on her door one rainy night, cecilia is scared and fails to let him in. later, when kevin's body is dragged from the local river, cecilia becomes overwhelmed by her guilty secret — that she could have saved him but didn't.

directed and co—written by francisco marquez, who made the long night of francisco sanctis, a common crime looks like a mystery mystery thriller with overtones of supernatural horror. but there's no mystery about who killed kevin. it's clear from the outset that the police are to blame and that his crime was simply coming from the wrong side of the tracks. as marquez has said, to be poor in argentina means to already be a suspect. as for the ghost that haunts cecilia, is this not merely a manifestation of her bourgeois guilt, an unconscious acknowledgement of her own complicity in kevin's death? brilliantly played by carricajo, cecilia becomes an emblem for a broken society, in which the spectre of the disappeared still looms large and in which the economics lessons that cecilia teaches her students clearly have a deadly edge. it's engrossing affair,

chilling and thought—provoking. it's available through virtual cinema screenings and on vod now. in don siegel�*s �*50s sci—fi classic invasion of the body snatchers, from jack finney�*s novel, the residents of an american town are replaced by soulless replicas that grow in pods. a �*70s remake by philip kaufman added an eerie widemouth alien scream that was picked up in abel ferrara's �*90s version. now we have assimilate, a new—ish movie that actually opened in the us a couple of years ago in which the residents of a american town are replaced by soulless replicas that grow in pods and that emit a strange widemouth alien scream. can i help you, boys?

you could be forgiven for assuming that assimilate was simply the latest in a long line of body snatchers remakes, which also includes the invasion from 2007. yet, unlike its predecessors, which duly acknowledged their source, assimilate makes no mention of the novel or any of its screen adaptations, preferring instead to pretend that this is an original film from an original script, rather than a bland rip—off of an uncredited yet enduring classic. in the interest of balance, i should admit that this time the protagonists are teenagers armed with spy—cams and a website, and there are some bitey bug things. hey, that's new, but other than that this is nothing more than a movie that does exactly what its evil aliens do — making an artificial replica of something that already exists, that looks exactly the same, but is utterly empty. you can find assimilate on digital platforms from monday,

but why would you bother when all of the other accredited versions of body snatchers are out there doing the job so much better? the fact that a new movie bears a resemblance to an old movie doesn't mean that it has to be terrible. take palm springs, which opened to very positive reviews at the sundance film festival last year and went on to pick up a brace of golden globe nominations, including best musical or comedy film. # if you're lost you can look and you will find me - # time aftertime... nice. screaming run, rabbit, run. # time aftertime... don't come in here! what? it's going to be a beautiful wedding. andy samberg is nyles, a hawaiian—shirted wastrel who's been reliving the same wedding day, not his, over and over again for as long as he can remember. cristin milioti is sarah,

the sister of the bride who finds herself unwittingly dragged into the same temporal vortex in which nyles is trapped, about which she is not best pleased. she's not alone, withjk simmons, who was similarly dragged into nyles' private hell, seeking revenge with a crossbow. you don't have to be a film historian to get a sense of deja vu, or to go, "hang on, isn't thatjust groundhog day but with more people dragged into the time loop?" the answer is yes and no. yes, palm springs owes a debt to the �*90s classic in which bill murray woke up on the same day over and over again while gradually falling in love with co—star andie macdowell... wait, stop, there is a bomb in the cake. ..but rather than simply replicating or ripping off groundhog day, which itself owed a debt to such diverse sources as it's a wonderful life and anne rice's novel the vampire lestat, palm springs takes that premise and runs with it, acknowledging and even joking about some of its predecessors'

philisophical conundrums. i'm going to get out of this. suit yourself. see you tomorrow. it helps that samberg and milioti make likeable leads, and that the script by max barbakow and andy siara maintains a nice balance between screwball wit and sassy crudity. it's also significant, although completely coincidental, that in the wake of the anniversary of the first lockdown the idea of being trapped in the same endless day seems particularly poignant. palm springs may not be a masterpiece, and it's certainly not the most original film released this week, but it's rewardingly goofy fare that raises a laugh and a smile, and frankly those have been in short supply lately. you can find it on amazon prime video. i'll leave you with news of two films that were made a few years ago but have just become widely available in the uk. from 2015, songs my brothers

taught me is the debut feature of chloe zhao, whose latest film, nomadland, is currently a favourite for best picture and best director at the baftas and the oscars. a tough, lyrical, and typically honest coming—of—age story, it clearly lays the groundwork for both the rider and nomadland, and is available exclusively on the streaming service mubi. meanwhile, wilderness is a 2017 production made in association with falmouth university's school of film and television, whose other credits include markjenkin's acclaimed cornish masterpiece, bait. what's going on? you haven't told her?

this is getting interesting now. a jazz—inflected �*60s love story that unfolds against the rugged beauty of the cornish coast, it's a low—key but still thematically rich affair, heavy on dialogue, light on action, that picked up several festival awards and is now available on a range of digital platforms. this is perfect, isn't it? it's all i've ever wanted. that's it for this week. thanks for watching the film review. stay safe, and i'll see you next week. go ahead and tase me! go on, just do it! i'm touching your bike. hello there. it looks a bit drier for many of us on monday. a lot of the wintry showers are fading away, but it's going to start cold, widespread frost, maybe some icy patches, too. the lowest temperatures in scotland and northern england

where we have the clearer skies. now, there's some damp weather that's moving across northern ireland heading into wales and the southwest. that could bring a bit of sleet and snow in there as well. it shouldn't last long, it's heading into southern england, and then the cloud breaks up, sunshine comes out, and we are left with a few showers. most of the showers will come into western parts of northern ireland, much of scotland. northern and eastern england and the midlands, having a dry day, not many showers around, a better day than it was on sunday with some sunshine, and as a result, temperatures could be a couple of degrees higher. still cold, mind you. we could start frosty again, i think, on tuesday morning. plenty of sunshine. the cloud will bubble up. across some western areas, we could catch one or two showers into the afternoon, but further east, its likely to stay fine and dry. temperatures still below average for the time of year, but more of the country will see temperatures just in double figures.

this is bbc news, i'm maryam moshiri. senior royals attend a church service after the death of the duke of edinburgh and tell of the loss felt by the queen and their family. she described it as having left a huge void in her life. it's been a bit of a shock. however much one tries to prepare oneself for something like this, it's still a dreadful shock. a nuclearfacility in iran's left without power in what's suspected to be a cyber attack — iran describes it as an act of terrorism. a major easing of england's lockdown — pubs, gyms, hairdressers and all shops can all be open for the first time this year. it shines a light on the ignored in america, but nomadland's not overlooked at the baftas, it's the big winner at britain's top film awards.