this story, sian, something has to give because people cannot meet these bills. l, give because people cannot meet these bills— give because people cannot meet these bille— these bills. no, they absolutely cannot and _ these bills. no, they absolutely cannot and the _ these bills. no, they absolutely cannot and the sunday - these bills. no, they absolutely cannot and the sunday times i these bills. no, they absolutely i cannot and the sunday times has these bills. no, they absolutely - cannot and the sunday times has been running _ cannot and the sunday times has been running quite a campaign about this and if_ running quite a campaign about this and if you _ running quite a campaign about this and if you look at that front—page photo _ and if you look at that front—page photo of— and if you look at that front—page photo of the four—year—old who is holding _ photo of the four—year—old who is holding up — photo of the four—year—old who is holding up that piece of paper which says the _ holding up that piece of paper which says the bill that her father, matthew, is facing is more than £100,000 to remove cladding from his flat. £100,000 to remove cladding from his that he _ £100,000 to remove cladding from his that he is_ £100,000 to remove cladding from his flat he is an— £100,000 to remove cladding from his flat. he is an nhs worker on £22,500 a year— flat. he is an nhs worker on £22,500 a year and _ flat. he is an nhs worker on £22,500 a year and the flat cost him £88,000 in 2012 _ a year and the flat cost him £88,000 in 2012. these sumsjust do not add up in 2012. these sumsjust do not add up and _ in 2012. these sumsjust do not add on and every— in 2012. these sumsjust do not add up and every one of these stories, and there — up and every one of these stories, and there are a number of them in the paper— and there are a number of them in the papertoday, is and there are a number of them in the paper today, is a tragedy. the paper— the paper today, is a tragedy. the paper has— the paper today, is a tragedy. the paper has a — the paper today, is a tragedy. the paper has a manifesto of things that could _ paper has a manifesto of things that could heip _ paper has a manifesto of things that could help the situation. among them are that _ could help the situation. among them are that the _ could help the situation. among them are that the developers should pay to remove — are that the developers should pay to remove this cladding and, yeah... lets turn— to remove this cladding and, yeah... lets turn very — to remove this cladding and, yeah... lets turn very quickly to our final story. joe, the mail on sunday, charles will not let rgb prints. i

do not know if we have that for our viewers, but we will try to get that on my desk. —— charles will not let archie be prince. on my desk. -- charles will not let archie be prince.— on my desk. -- charles will not let archie be prince. this let makes me think of the — archie be prince. this let makes me think of the famous _ archie be prince. this let makes me think of the famous oprah - archie be prince. this let makes me | think of the famous oprah interview, one of the grievances they cited at the time that archie would not be given the title of prince and that when prince charles became king, he would change precedents and not allow his grandson to automatically become a prince, so this would be a breakfrom tradition become a prince, so this would be a break from tradition but it seems that prince charles wants to slim down the monarchy, reduce the number of front line royals and, as the meal was saying, that is his plan and that is one of the things that have greater tensions with harry and meghan, and the furthering of relations, i think. meghan, and the furthering of relations, ithink. 3c} meghan, and the furthering of relations, ithink. relations, i think. 30 seconds, sian, your _ relations, i think. 30 seconds, sian, your thoughts _ relations, i think. 30 seconds, sian, your thoughts on - relations, i think. 30 seconds, sian, your thoughts on this? l relations, i think. 30 seconds, sian, your thoughts on this? i | relations, i think. 30 seconds, - sian, your thoughts on this? i think clearl it sian, your thoughts on this? i think clearly it has _ sian, your thoughts on this? i think clearly it has made _ sian, your thoughts on this? i think clearly it has made harry _ sian, your thoughts on this? i think clearly it has made harry and - sian, your thoughts on this? i think l clearly it has made harry and meghan very cross _ clearly it has made harry and meghan

very cross. the story seems to be coming _ very cross. the story seems to be coming from _ very cross. the story seems to be coming from sources close to the sussex — coming from sources close to the sussex i— coming from sources close to the sussex. i think it is notjust that archie _ sussex. i think it is notjust that archie would not be a prince. if this story— archie would not be a prince. if this story is _ archie would not be a prince. if this story is correct, it is also things— this story is correct, it is also things like _ this story is correct, it is also things like police protection. you know. _ things like police protection. you know. you — things like police protection. you know, you wouldn't get police protection if you were not in this slimmed — protection if you were not in this slimmed down monarchy, so it has implications for other members of the family— implications for other members of the family as well. and there was that question of race, wasn't there? there _ that question of race, wasn't there? there was— that question of race, wasn't there? there was that feeling that was archie — there was that feeling that was archie being singled out? sian, you must think i — archie being singled out? sian, you must think i am _ archie being singled out? sian, you must think i am terribly _ archie being singled out? sian, you must think i am terribly rude, - archie being singled out? sian, you must think i am terribly rude, i - must think i am terribly rude, i keep interrupting you this evening. so much to talk about, not enough time. thank you very much, enjoy your sunday and thank you. and thank your sunday and thank you. and thank you for watching. next it's the film review with mark kermode. goodbye for now.

hello, and welcome to the film review with me, mark kermode, rounding up the best movies available in cinemas and in the home. disney pixar�*s latest animation, luca, was due to be opening in cinemas around now, but due to the uncertainties of the ongoing covid crisis, it's instead debuting in the uk on the streaming service disney+. everyone in portorosso pretends to believe in sea monsters. he gasps. well, i'm not pretending. ah! wah! cow moos. set largely in portorosso, a picturesque but insular town

on the italian riviera, the retro action centres on luca, a sea creature told by his parents to avoid the land at all costs, but lured ashore by headstrong alberto. #you are my sunshine, my only sunshine...# transforming like mermaids between wet and dry environments, our amphibious antiheroes befriend local human girl, julia, and set their sights on winning a cycling, swimming and pasta—eating competition, the prize money for which would pay for that transport of delight, a vespa scooter. whoa! director enrico casarosa says the inspiration for luca came from memories of his childhood in genoa, his love of federico fellini, and his admiration for the hand—drawn animations of hayao miyazaki. that's a heavy set of influences, and it's a credit to the movie, which is co—written byjesse andrews and mikejones, that it doesn't simply buckle under the strain of such heavyweight inspirational touchstones. wow! we look horrifying. in fact, luca is surprisingly breezy in tone, a charming coming—of—age

tale which uses its central sea monster riff as a metaphor for otherness, a story of friendship and about learning how to cope with feeling like a fish out of water — literally. what's wrong with you, estupido? ah! hm. you can watch luca on disney+. the most eye—opening film released in cinemas this week is the reason ijump, a dramatic documentary about autism inspired by the japanese book of the same name. inside my head, there isn't really such a big difference between what i was told just now and what i heard a long time ago. my mind is forever swaying. this way and that. directed byjerry rothwell, this compelling and empathetic sundance audience award winner follows a disparate group of people whose communication may be nonverbal but who have plenty to say about their lives and experiences

when offered the right tools. in india, we meet amrit, who expresses herself through her art. in sierra leone, we learn how talk of witchcraft and demonic possession once demonised another, until her parents started a special school in freetown to change that narrative. and in the us, best friends ben and emma use letterboards to explain eloquently how any conversation about autism can only be meaningful if it includes people with autism. i can't be sure what your normal is even like. we also hear readings for naoki higashida's source book, translated into english by david mitchell and keiko yoshida, accompanied by expressionist images that attempt to portray the book's account of neurodivergent experience through the medium of cinema. my eyes are captured by lines and surfaces. while controversy and scepticism haunted the authorship of higashida's bestseller, rothwell�*s evocative, sensuous film, with its beautiful score by nainita desai achieves

the director's stated aim of demonstrating that nonverbal doesn't mean non—understanding. and, in a world in which films like sia's golden—globe—nominated abomination music have become the most high—profile films about autism, this documentary feels like a breath of fresh air. the reason ijump is in cinemas now. if you need proof that what film critics say about movies has zero effect on their box office, then look no further than the career of british director paul ws anderson. having first made a splash with the headline grabbing indie—pic shopping, anderson struck box office gold with video game adaptations like mortal kombat and the resident evil movies, the latter of which have taken over $1 billion worldwide. anderson's latest, monster hunter, is another game—to—screen adaptation, once again starring the director's long—time partner, milla jovovich.

move, move, move! watch out! she plays captain artemis, transported via a mysterious sandstorm to a world packed with monsters who must be, well, hunted, obviously. tonyjaa is hunter, who's good at, well, hunting, obviously. specifically hunting monsters, helpfully showing artemis — and us, the audience — how things work in this new world. argh! wow. meanwhile, ron perlman is the admiral seeking to break the potentially lethal bond between dimensions...or something. got to tell me about that. now, i'd love to be able to tell you that, contrary to critical consensus, monster hunter is actually a great movie. i can't. it isn't — despite a typically engaging performance byjovovich, some spectacular special effects

and a romping score. but, narratively, it's a sticky toffee pudding of stodge, stomping gracelessly from one giant beastie showdown to the next, with no sense of character, tension or even basic plot development. for the record, i should say that paul ws anderson did make one movie that i really liked — the sci—fi/horror hybrid event horizon. i gave it a great review, and if flopped really badly. critics — what do they know? monster hunter is in cinemas now. multi—award winner lin manuel miranda has, so far, resisted calls to turn his stage sensation hamilton into a movie, although a filmed version of the broadway production was released by disney last year. however, we do have a movie of miranda's previous hit musical in the heights, offering a fiesta of good—hearted exuberance focusing on the latino community of manhattan's washington heights. music plays. # light's up on washington heights,

about the break of day # i wake up and i got this little punk i gotta chase away # pop the grate at the crack of dawn # sing while i wipe down the awning... # eyo, good morning. anthony ramos stars as usnavi, serving time in a local store while harbouring dreams of the dominican republic. usnavi loves vanessa, played by melissa barrera, whose own dream is to become a fashion designer, while leslie grace's nina has had enough of stanford and wants to return to the old neighbourhood home, to the disappointment and anger of herfather, played byjimmy smits. the odds are against you. but there's a chance, right? upping the ante is an impending power cut and a winning lottery ticket, both of which serve to turn up the already—sweltering temperature. tell the world we are not invisible. ignore anyone who doubts you. # in the heights...# from show—stopper song and dance numbers to a swimming pool sequence that cheekily recalls the hollywood heyday busby berkeley,

in the heights, from crazy rich asians director jon m chu, has everything and the kitchen sink, with love, politics, comedy, drama, history and fantasy interwoven into a high—kicking tapestry. despite some criticism about a lack of afro—latino representation, for which miranda has offered a heartfelt apology, it's hard to come away from in the heights feeling short—changed. exhausted, perhaps, but not disappointed. # in the heights!# it's in cinemas now. regular viewers will know that last week i raved about nobody, a guilty pleasure that combined action and comedy in a note—perfect ballet of slapstick violence. the same cannot be said of the hitman's wife's bodyguard, a sequel to the 2017 hit that takes an a—list cast and a b—movie premise to create an r—rated actioner from a d—minus script that earns an x for wit and w for, "why are we doing this, again, exactly?"

i'm officially on sabbatical and i don't know why i didn't do this sooner. in fact, for the first time since kincaid killed kurasawa, i'm starting to imagine a life without bodyguarding. this really feels like a new beginning... record scratch. let's go, bryce! ryan reynolds is back as michael bryce, who, having renounced guns and body guarding, is dragged back into a world of guns and body guarding by samuel ljackson and salma hayek. what follows is 90 minutes of hayek screaming, jackson swearing and reynolds wisecracking, while antonio banderas chews the scenery, morgan freeman collects his paycheque, and large sections of touristy europe get blown up. now, saying it like that make it sound a lot more fun than it actually is, but if the hitman's wife's bodyguard proves anything it's that, a, most sequels exist because of money, b, the more the cast are enjoying themselves, the less the audience usually is, and c, getting mindless entertainment right requires a lot more thought than you'd think. excuse me!

i have 20—20 hearing. ican hearyou. the dead guys, can hear you. you can make up your own mind about the hitman's wife's bodyguard in cinemas now. i will leave you with news of in the earth, the latest from british maverick ben wheatley whose cv ranges from the cult horror oddity kill list through the jet black comedy of sightseers to the recent netflix remake of rebecca. they tell me his story. these are his memories. can you feel him now? in the earth? no, i don't know what you mean. i think you do. written during the first months of lockdown and shot last summer, in the earth plays out in a world blighted by a contagious pandemic. joel fry, currently co—starring in the disney hit cruella, is martin who teams up with ellora torchia's park scout alma to venture deep into the woods in search of hayley squires scientist, dr wendle.

but something is watching them, whether it's reece shearsmith's smilingly sinister zach of the mythical woodland spirit of parnag fegg. you must be sleepy. as with all of wheatley�*s best works, in the earth combines humour and horror in terrifically bamboozling fashion. believe me, there are sequences in here that will leave you squirming, laughing and wincing all at the same time. elsewhere, this habitually mischievous writer—director builds upon the trippy monochrome experiments of a field in england to conjure immersively—colourful explosions of sight and sound reminiscent of the glorious visionary excesses of ken russell's altered states. part pantheistic eco—thriller, part absurdist pagan nightmare, in the earth is a film which demands to be seen on the biggest screen possible, preferably with the sound turned up to ii to engulf the audience in its deliciously dark spell. it's in cinemas now. do not miss it.

that's it for this week. thanks for watching the film review. stay safe, and i'll see you next week. i would make a great mother. this is bbc news. i'm kasia madera with the latest headlines for viewers in the uk and around the world. the us says it will continue nuclear talks with iran, following the election of the hardline cleric ebrahim raisi as president. a major push to offer coronavirus jabs to every adult in england gathers speed — as scientists repeat warnings of a third wave of infections. thousands take part in a gay pride rally in warsaw, despite a backlash against lgbt rights in poland. tributes to one of india's greatest athletes, milkha singh, who's died at the age of 91.