hello this is bbc news. the headlines... thousands of manchester city and chelsea fans are in portugal where the teams meet for the champions league final in half an hour. it will mean absolutely everything. we've been fantastic since 2008 with every trophy that is available to us apart from this one. you have to wear the mask around so it's often sweaty. it's really inconvenient but obviously on the flight of well, but it is worth it. a teenager appears in court charged with conspiracy to murder, following the shooting of sasha johnson, the black lives matter activist. dozens of demonstrations have taken place around the world to show solidarity

with the people of belarus. now on bbc news... the film review with mark kermode. hello and welcome to the film review with me, mark kermode, rounding up the best new movies available for viewing both in cinemas and in the home. back in 1961, disney scored an animated hit with 101 dalmatians adapted from the novel by dodie smith. a live—action remake starring glenn close as cruella deville

followed in 1996 with a sequel 102 dalmatians a few years later. now, as disney's campaign to recycle and reboot its back catalogue continues apace, we have cruella, a live—action prequel that's been in the works for almost a decade and which glenn close gets an executive producer credit. do you have a light? they gasp. like the hit stage show, wicked, which revisited the early years of a fairy tale villain from the wizard of oz, cruella creates an explanatory back story for its anti—heroine scary reputation. emma stone is estella, taken in by artful dodgers jasper and horace, after the dalmatian—fuelled death of her mother. you, grubby girl. yes? do you have your card?

estella dreams of being a fashion designer, following in the footsteps of emma thompson's splendidly imperious baroness, the true villain of the piece, to whom she becomes both dogged assistant and deadly rival. you look vaguely familiar. i look stunning. playing out on the streets of �*70s london, cruella boasts winning turns from joel fry and paul walter hauser, the latter of whom charms despite having apparently studied at the dick van dyke school of "cor blimey, mary poppins!" cockney accents. 0h, we need that! as for stone, she's fine in the lead, but thompson steals the show at every turn. the film may be called cruella, but it's the baroness who holds our attention. just as it's thompson rather than stone who channels the electrifying screen energy of glenn close. you can find cruella in cinemas and on disney+ with premier access now. on the subject of electrifying

screen energy, ben whishaw really makes the sparks fly in surge. what is that? joseph, what are you doing? mate? what is it? scott... well you need that, put that there. mate, what you doing? joseph? zip this up. come on. emre, it really doesn't matter. he plastoseph, a young man on the verge of a breakdown who finds himself in the throes of an increasingly reckless manic episode. having torched hisjob in airport security, lonelyjoseph goes to visit his parents where broiling family tensions merely fuel his anxieties. you swallow so loudly, joseph. one run in with a cash machine later, and joseph goes completely off the rails, with future director, aneil karia, compelling us into his frenetic world with real visceral urgency. don't go out there! there's a touch of a panic attack quality of the safdie brothers' good time and the chaotic bankjob

thatjoseph pulls, earning whishaw a sundance prize and rave reviews from critics. plaudits too to cinematographer stuart bentley who's cameras chase joseph through streets and houses as he lurches through a string of misadventures, constantly on the move, raw nerves on display. wait, wait! wooooo! surge is in cinemas and on digital platforms now. the japanese anime demon slayer: mugen train, which follows a popular manga series and tv show, is already a record—breaking hit. outperforming the likes of spirited away to becomejapan�*s highest grossing movie, scoring big at both the domestic and international box office. like the korean zombie drama, train to busan, or bong joon—ho's sci—fi drama snowpiercer

from the french graphic novel, most of demon slayer's action plays out on the titular eternal train, where our heroes engage in battles in the real world and in the world of dreams. what follows is like an anime version of inception, with interlocking realities forming the separate pieces of a much larger puzzle. far deeper, and deeper still, into your dream. rated 15 for scenes of strong fantasy violence, which include a recurrent motif in which a character must kill themselves by cutting their own throat in order to awake from a dream, this is full—blooded fair, filling the screen with impressively monstrous battles and some genuinely disturbing imagery. those unfamiliar with the source material may take a while to get up to speed, but once this train starts rolling, the sheer pace of the action keeps everyone on board. it's in cinemas now in both dubbed

and subtitled versions. altogether less rewarding is earwig and the witch, a digital animation co—production between studio ghibli who made classics like spirited away, howl's moving castle and ponyo, and the japanese broadcasting corporation nhk. ah, haha! her name is erica wig. she's been living with us since she was just an infant. 0h... mandrake, what say you? what about her? she should do. based on the novel by diana wynne jones and directed by goro miyazaki, son of ghibli's founding father, hayao miyazaki, earwig and the witch follows the adventures of a young girl from a children's home who is adopted against her wishes by a mysterious couple. i'm a witch. great! it turns out they're enchanters, and earwig, renamed erica, who has magic in her blood,

is keen to learn, but bella yaga only wants her to work. hang on, you actually talk?! of course i do, just not very often. it sounds like fun, and richard e grant lends entertainingly grim gravitas to the english language dub. but having first aired onjapanese tv at the end of last year, this theatrical release is distinctive only for being ghibli's first major disappointment, remarkable for being quite so unremarkable. and the rest is up to you, 0k? the story is surprisingly flat, the animation sub pixar, and the overall tone, breathless without ever being magical. it's a shame not least because goro miyazaki's previous films, the underrated tales from earthsea and the more critically acclaimed from up on poppy hill, both showed great promise and invention, qualities sadly lacking from this lacklustre affair. well, i know a lot more i than you do about spells. it's not bad as such, it's just not very good, certainly less than you'd expect

from a director and studio of this calibre. earwig and the witch is in cinemas now. american film—maker kelly reichardt�*s intimate explorations of the history and landscape of oregon range from the modern drama old joy to the frontier western meek�*s cutoff. her latest movie first cow, which made number three in sight and sounds best of 2020 poll, is set in 1820s oregon, where two men, cookie and king lu, set out to make their fortune selling delicious cakes. i taste london in this cake. their wares are loved by all, including the pompous chief factor, magnificently played by tobyjones,

from whose cow, the first in the area, they have been stealing milk. how long can they continue their enterprise before getting found out? it seems dangerous. so is anything worth doing. freely adapted from the novel the half life by reichardt�*s regular screenwriterjohn raymond, first cow opens with a quote from william blake — "the bird, a nest, the spider, a web, man, friendship." you all right? there is indeed something rare and beautiful in the low—key depiction of cookie and king lu's alliance. a friendship between two men from different backgrounds, both outcast in their own way, quietly finding common purpose. no way for a poor man to stop. yet this terrific film is also about wider issues — the american dream, the birth of the international marketplace and the interplay between commerce and comradeship. special mention is due to cinematographer christopher blauvelt,

who once again used the widescreen vistas that have come to typify america on screen, finding piercing beauty in more personalframings in which human features become part of the landscape, characters passing through the half—light of history. first cow is in uk cinemas now and will be available to stream exclusively on mubi from earlyjuly. screen legend michael caine once said that he signed up forjaws 4 because, along with paying for his new house, the film gave him a lovely holiday in the bahamas. the same might be said of frankie, an american—french drama set in and around the beautiful portuguese town of sintra, where the ensemble cast spend a lot of time wafting about photogenically. isabelle huppert stars as the titular actress, who has only a few months to live and has gathered her extended family around her in this picturesque idyll. good morning!

there's people in the hotel, you know. that's ok. i'm very photogenic. joining her in this corner of paradise are brendan gleeson, greg kinnear, marisa tomei and jeremie renier, — fine actors all and willing to do their bit in the cause of serious, heartfelt drama about matters of life and death. she's in a hurry. so you know. and if that means spending a few weeks on the portuguese riviera, well, so be it. it's a hard job, but somebody�*s got to do it. directed and co—written by ira sachs, who made the terrific romantic drama love is strange, frankie may address some thorny issues, but the entire movie, which premiered at cannes two years ago, smacks of lovey indulgence. you come up with these crazy scenarios in your head. you think you can manipulate everything, don't you? not once did i believe that these characters were anything other than actors finding themselves in splendid surroundings, stopping every now and then to film

an emotional yet weirdly perfunctory scene before going back to enjoying the local beauty. i'm sure they all had a marvellous time, i only wish i could say the same. frankie is in cinemas now. that's it for this week. thanks for watching the film review. stay safe, and i'll see you next week. you're hired. this address, 5am. don't be late. give it...give it! hello and welcome to sportsday — i'm katie shanahan. coming up in the programme... all eyes on the prize, we're live in porto ahead of the champions league final

between manchester city and chelsea. and the last few fans are making their way into that final. interest continues coming up. brentford are promoted to the premier league as they return to the top flight for the first time in 7a years. and, having already won the tour de france, egan bernal is on the brink of another grand tour victory at the giro d'italia. we've got an action packed programme for you tonight. and where else to start but the biggest game in european club football. the champions league final

between manchester city and chelsea gets under way in the next few minutes. minutes' time to find out who'll be crowned champions of europe. 16,500 lucky fans will be watching the game in porto. a huge occasion for all those involved. when i start my career to play not even one final champions league and look there's another one. we are here, more than grateful, lucky all of us we are. we are not overexcited to be here. we want to be overexcited tomorrow after the match. we want to do the last step, we are here to win the trophy. for sure it's one of the proudest moments of my life. _ we have shown to the last three months that we are capable of having good performances and top teams. if you win your hero, if you lose you are almost a failure. even if you not a failure because coming to this stage is incredibly well done. i achieve the final was massive because —— actually. _