in swansea, that's grandparents live in swansea, that's my claim some kind of welsh connection. that's all i can muster. james and kate, lovely to have you both with us. thanks for looking at the papers with us. don't forget to buy a paper tomorrow. forgive me, it's three, not four. the film review is coming up. until next time, goodbye. 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. hello.

monday may be the summer solstice, but across some southern counties of england, summer may be the last season on your mind. we will start here with cloud and outbreaks of rain which will push up from the south during the night. temperatures are holding up nicely here, but a vicious start elsewhere, especially with the sunshine across the northern west of scotland, northern ireland, northern england, north and west wales. as thick cloud across scotland will bring a few showers, that will drift its way down into northern england through the day, but the rain develops more widely, heavy at times across southern counties of england, maybe fringing into the south east midlands and parts of east anglia. and with a north easterly breeze here, it will feel distinctly chilly, temperatures struggling in the mid teens. but with some brighter skies, west midlands, west wales, towards the west coast of england and across western scotland, it is here where temperatures could hit 18—20 celsius. now, as we go into monday evening and monday night, that outbreak of rain to the south will push its way southwards to leave a much brighter day after a chilly start for most on tuesday. by wednesday, southern areas stick with some sunshine, but we will see some cloud from the north.

this is bbc news — i'm geeta guru—murthy with the latest headlines for viewers in the uk and around the world. close — but no—dealjust yet — talks aimed at reviving the iran nuclear agreement are adjourned in vienna with washington saying there's some way to go. israel's new prime minister says that world powers should not negotiate with iran, after the election of hardliner ebrahim raisi as president. the far—right party of marine le pen has failed to make the electoral break—through it was hoping for in france's regional elections, according to exit polls. the olympic village challenge — trying to keep atheletes safe from covid with shared facilities, from dining areas to flats and gyms.