and military personnel. the us military says a strike by one of its drones has resulted in the deaths of "two high—profile" targets, following thursday's attack at kabul airport which killed as many as 170 people. tens of thousands of people flee in the us as hurricane ida approaches louisiana. now on bbc news it's time for the film review. hello, and welcome to the film review with me, anna smith. i'm filling in for mark kermode to review this week's releases.

so, legend has it that if you look in the mirror and say his name five times, he will appear behind you. candyman. anthony... candyman. anthony, no. candyman. stop! stop it. candyman. stop it! 0k. you better not do that. 0k, 0k. whispers: candyman. you play too much! ow, no, stop! yes, the candyman is back. while there have been other sequels, this is framed as a direct sequel to the 1992 horror about a supernatural killer with a hook for a hand, who is hunting the housing projects of chicago's cabrini green. fast forward to the present, and the area's being gentrified with luxury loft condos. it's a comfortable life

for visual artist anthony, played by yahya abdul—mateen ii, and his gallery director partner, brianna, played by teyonah parris. at least until anthony decides that the best way to get artistic inspiration is to invoke said candyman. let's just say his new exhibition hits the headlines for all the wrong reasons. say his name. candyman. ah! if you're looking for scares, then candyman has plenty of suspenseful scenes and a few very gory moments. but it's also darkly funny and thought—provoking. expertly directed by nia dacosta, this is co—produced and co—written byjordan peel, the man behind get out and us. like those films, candyman explores the monstrous aspects of real people, not just supernatural ones, and delivers a contemporary cynical spin on archetypes from the art world.

while on the one hand this comedy reinforces stereotypes about powerful wealthy people, the casting subtly bucks tradition, very few of these characters are played by white men. the same cannot be said of the many police officers in this film. this has a lot to say about police brutality and race relations. candyman also has a very distinct visual identity, from its opening font, to its flashbacks told by shadow puppetry. honestly, this is such an interesting film, i could write a thesis on it. i'm sure students will be doing so for years to come. candyman. no! candyman! ugh! 0h! don't say his name. don't follow me.

it's in cinemas now, and if you want to see the original candyman, it's on netflix now. they sing our story is older than these hills and glens. it was springtime, and we had one thing on our minds... ..boys. but it was more of an innocent time, before social media and mobile phones changed everything forever. it was 1996. as a former catholic schoolgirl, i was intrigued to see the new comedy drama our ladies, about choir girls running riot in 1990s edinburgh. this is based on the award—winning novel the sopranos by alan warner, which was taken to the stage as our ladies of perpetual succour, the name of the school in the rural highlands. now simply called our ladies, it follows a choir of trilling teens who have won a place in edinburgh competition. they are taken there by choir mistress sister condron, who is played by kate dickey

in a rare and welcome comedic role. rather rashly, she lets the girls decide what to do with their free time in the big city. i mean, how much mischief can a group of schoolgirls really get up to? yeah, you guessed it, a lot. fresh meat — three o'clock. three o'clock. having exhausted most of the romantic and sexual opportunities in their small highland town, orla, tallulah greive, chell, rona morrison and kyla, marli siu, head off on the pull, complete with a supersized bottle of cola spiked with vodka. meanwhile, finnoula, played by abigail lawrie sidles off on a secret mission, where she bumps into head girl, kay, played by eve austin. what follows is a witty whistle stop tour of edinburgh haunts. whether they're ruling the karaoke or winding up the local coppers, these girls are brimming with indestructible teenage confidence. but, of course, there are serious dramas underneath from friendships in crisis to cancer.

while i think this film would've benefited from more women behind the scenes, caton—jones does a good job of bringing the characters to life with a great cast to capture the story's mischievous spirit. our ladies is in cinemas now. are you ready to order, sir? yeah, i think so. we'll start with a dozen oysters and the shrimp cocktail. - my princess will have - the chateaubriand, and i'll do the whole roasted sea bass. let's start with a bottle of white, and then we will have _ red with our dinner, _ whatever goes best with our food. don't look at him, i've . told you what we wanted. thank you. you're embarrassing. and you're exhausting. how? everything is going to be fine. from 1996 to 1986, wherejude law stars as a volatile father in the nest.

an unsettling claustrophobic drama, the nest sees a family of four uprooted from the states to rural england. rich rory has found what he thinks is an irresistible business opportunity in london and rents a huge country house that's entirely impractical, just one sign of his impulsive nature and unrealistic ambition. there's a flavour of the mosquito coast as he drags his family into his schemes, but this also feels like a very personal work from writer—director sean durkin. who gave us the brilliant martha marcy may marlene in 2011. carrie puts in a riveting performance as rory�*s equestrian wife, alison, a strident sardonic women going through a range of emotions over the course of this film. i remember really enjoying her performance as ben affleck�*s sister, margo, in gone girl, and as a cult leader in tv�*s the sinner. jude law, meanwhile, delivers a suitably manic performance,

but he's particularly good when we're let in on rory�*s more private moments. what with this and tv�*s the third day, law seems to be on a roll, and he isjoined by a strong supporting cast, including adeel akhtar, anne reid, and michael culkin, who incidentally also had a role in the original candyman film. exploring themes including masculinity, gender and family, the nest is a rewarding watch that's made all the more intense by durkin�*s use of horror stylings. what is happening? you're all strangers to me right now! all of you! you're embarrassing. and you're exhausting. wmsmzns: this is - what we always wanted. it's in cinemas now.

an egyptian teenager leads a double life in the new drama souad. 19—year—old souad played by bassant ahmed wears her veil in public, but her social media tells a different story. she shares flirty photos and texts with her boyfriend, ahmed, whom she's never met. heryoungersister, rabab, played by basmala el ghaiesh observes all of this and plays an increasingly key role in this film of two halves. it's a fascinating and disturbing look at the contradiction of young girls�* lives in modern day urban egypt. film—maker ayten amin draws excellent performances from her cast of newcomers, and everyday scenes become riveting under her keen observational eye. i could've watched the opening bus

scene, in which souad tells various strangers tall stories about her fiance, for hours. and there's a subtle bathroom moment that speaks volumes about repressed female sexuality. souad's second half isn't quite as strong as its first, but it is still a real find when it comes to thoughtful art—house fare. it's in cinemas now, including london's bfi southbank, their season on contemporary arab cinema. ten, ten, through the course of this, there's been a terrorist incident. a what? they were speaking their own language, they weren't - speaking in english. you don't think they could've been speaking welsh? this gentleman was sent by a crime family who are intent on taking over your turf. hand over you takings! how much is it?

£1.20. oh, come on! last week, i mentioned michael smiley�*s great supporting turn in the horrorfilm sensor, this week, he is back in a leading role in a thriller, the toll. smiley plays a tollbooth worker in rural wales. he's rarely troubled by passing traffic, but that suits him just fine. he's a criminal lying low and figures that no—one will find him in the middle of nowhere. but, of course, one day, a driver recognises him and his past threatens to catch up with him. his previous life is a mystery, but his calm and ruthless demeanour speaks volumes. humorously, it turns out that he is far from the only criminal in this remote corner of west wales. pretty much everyone else is up to no good, apart from one cop played by anne. the amusing supporting cast includes game of thrones star iwan rheon, sightseers star steve 0hram,

and comedian paul kaye, who plays an eccentric ambulance driver. the addition of a female elvis impersonator and her sidekick feels superfluous, so the toll is a bit crowded. but it's a very enjoyable watch for fans of dark british crime comedy. where did you hide this car? it's in cinemas and on digital now. thanks for watching the film review with me, anna smith. i'll be back next week. in the meantime, stay safe. you might prefer my usual technique — cave his head in with a brick, blame it on the gypsies. they're travellers, though. travellers travel. they're gypsies. now on bbc news, it's

time for sportsday. england's bowlers do the damage at headlingley — 0llie robinson stars against india as they level the series. teamwork makes the dream work. married couple neil and lora fachie bring home golds for gb in their respective paralympic events in tokyo. and it's a demolitionjob at the etihad, as manchester city score five past arsenal. hello, and welcome to sportsday. england have levelled their test series against india. and they did it with a huge win at headingley by an innings and 76 runs. eight wickets in the morning session meant it was all done by lunchtime and they go into the fourth test next week all square. adam wild has this report.

in leeds, they came ready for a carnival. what they got, in fact, was a procession. cricket history tells us to expect the unexpected at headingley. england here springing the surprises. cheteshwar pujara didn't seem to see that coming. indeed, even the umpire thought it was missing. a review, though, suggested otherwise. 0llie robinson and england up and running. pujara gone for 91, but the big prize was that of virat kohli. he had passed 50 but couldn't get pastjoe root. 0llie robinson wreaking havoc. this wasjimmy anderson undoing ajinkya rahane. moeen ali offering a quick break from the quick bowling was no less deadly. but the morning belonged to robinson. another perfectly judged another perfectlyjudged delivery. this saw off ishant sharma, his fifth wicket. india are now eight down and still over 100 behind. desperate times, the occasional

desperate shot. this big, but nothing like as big as his side needed. craig 0verton delivering the final knockout blows. england winning by an innings and 76 runs in all before lunch. headingley had expected a day of drama. what it got was an english morning masterclass. adam wild, bbc news. england captainjoe root was delighted with how his team had performed. extremely proud, and it shows the character in the dressing room. for players to be able to take a loss like that, come back and put in such a clinical performance shows a huge amount of what the group is about. it can be a difficult place, test cricket, when it's not going your way, and you have to be really able to stand up and look it in the face. and be ready to put yourself back out there under pressure and deliver.

and the group had done that exceptionally well this week.