of england has been abandoned. north of england has been abandoned. hs two and the extension up to manchester is something that will... and it's going to be improvements to the existing tracks rather than new infrastructure, so that means no bypass for bradford and so on. for those mps who were elected, those conservative mps elected by the constituents of these areas, they will be disappointed that what they were promised and what they promised their voters may indeed be very difficult to deliver, and increasingly difficult when announcements like this come through. so, how this impacts... but it could be serious. we through. 50, how this impacts... but it could be serious.— it could be serious. we haven't got lona left. it could be serious. we haven't got long left- just _ it could be serious. we haven't got long left- just a — it could be serious. we haven't got long left. just a last _ it could be serious. we haven't got long left. just a last word - it could be serious. we haven't got long left. just a last word from - long left. just a last word from you, lucy. they call it the transpennine data in the express, but i always think the express might

be... as but i always think the express might be... �* ., ., ~' but i always think the express might be... ., ., ~ ., ,, be... a lot of the link it does seem to be a be. .. a lot of the link it does seem to be a great— be... a lot of the link it does seem to be a great shame. _ be... a lot of the link it does seem to be a great shame. it's _ be... a lot of the link it does seem l to be a great shame. it's presumably a success_ to be a great shame. it's presumably a success for— to be a great shame. it's presumably a success for rishi sunak, who needs to reign— a success for rishi sunak, who needs to reign in_ a success for rishi sunak, who needs to reign in the funding. hs to go to burning— to reign in the funding. hs to go to burning him— to reign in the funding. hs to go to burning him seems a little bit ridiculous.— burning him seems a little bit ridiculous. _ ., g ., ridiculous. indeed. lucy and joe, thank you _ ridiculous. indeed. lucy and joe, thank you both _ ridiculous. indeed. lucy and joe, thank you both very _ ridiculous. indeed. lucy and joe, thank you both very much. - ridiculous. indeed. lucy and joe, thank you both very much. i - ridiculous. indeed. lucy and joe,| thank you both very much. i think ridiculous. indeed. lucy and joe, - thank you both very much. i think we should all give up before our lips and brains give up! we're all up far too late. thank you very much for your company. the film review is coming up next and then get news name. good night. —— newsday.

hello, and a very warm welcome to the film review on bbc news. to take us through this week's cinema releases, mark kermode is with me as ever. what have you been watching, mark? well, we have the new clint eastwood film, cry macho, which i know you're particularly looking forward to. we have mothering sunday, adapted from a novella by greg swift. and lin—manuel miranda's tick, tick...boom! i have nothing against clint eastwood — nothing at all. no, no. he's made some great films. he has made some great films. this isn't one of them. ok, so this is adapted from a novel that actually began life as a screenplay. couldn't be sold as a screenplay, turned into a novel, then suddenly film companies wanted it. nothing happened. it's been around for ages. at one point schwarzenegger was attached to it. at one point, schwarzenegger was attached to it. anyway, clint eastwood is mike, one—time rodeo star, who is sent to mexico by his former boss to retrieve his son,

who the boss says is living with his mother, who is completely unsuitable. "i need to go to mexico." he says, why? "why should i do it?" and he says, "because you owe me. "i stood by you when your life fell apart." clint, being clint, goes "0k, sounds fine." so he goes to mexico. in no time at all he finds the mother, finds her son and starts heading back to the border, but then discovers he's being tracked by the federales and gangsters. so, he has to hole up in a small town, where he is looked after in a cantina and gets to teach the boy about horse riding. here's a clip. look where you're going and go where you're looking. good. heels down. yeah, don't look like a sack of potatoes. your dad's going to be a happy man, i can see that. i'll see you in a bit. yeah. so, the film is called cry macho because the young boy has a cockerel called macho because he's involved in cockfighting, which is actually how clint eastwood finds

him in the beginning. that is pretty much the one interesting part of the screenplay — the name. beyond that, it'sjust a series of every cliche you can possibly imagine. firstly, every woman clint eastwood meets falls in love with him immediately — comes onto him. even though they're decades younger. none of that matters. he's clint eastwood. when they turn up in a small town, it's like a picture postcard town, there's a cantina thatjust happens to have a widowed woman it who immediately takes one look at clint eastwood and this young child, takes them in, starts offering them food and bed and lodging and support. there conveniently is the person who has horses, and horses need breaking in. happily, clint can show them. you go ok, this was written by a computer. you go shift—alt—balding neo—western — go. it's written by writers on gran torino. look, clint eastwood in his time has been a great film—maker, i mean, a really great film—maker.

incredibly economical, like a textbook great film—maker. this is really poor. it's cliched and hackneyed and dull. the only thing that kind of stops you getting cross about it is it's so sort of insipid that it's impossible to get annoyed about it. i did try, but i couldn't work up the enthusiasm. no, 0k. is mothering sunday much better? it is, it's much better. adapted from a screenplay by graham swift. essentially, it's a story of a woman becoming a writer. some of the main periods as a 20, at this a young age. their child, who works in a house — both families have suffered losses through world war ii. she's having an affair with paul, played byjosh o'connor. but the relationship has no future because he is betrothed to somebody of equal status. now, it may look from the outside like a kind of glum, upstairs downstairs downton abbey hybrid.

it's nothing of the sort. it's a story about passion and grief and rebirth and artistic creativity. it's very frank in its depiction of intimacy without ever being gratuitous. it's directed by eva husson, who is a really interesting director, script by alice birch who is a terrific scriptwriter., hauntingly filmed, the most brilliant score. i did feel i needed to see it twice to get the measure. the first time i liked it, the second time it really struck me as being very, very well done and very moving. and as i said, the story is told over disparate time periods. they're shuffled really well. it's not the film that the poster makes it look like. it's much more full—blooded than that. i think you'd like it, too. i'll be interested to know what you think. that's interesting, and i've seen some of alice birch�*s stage work. as a writer, she's very talented. absolutely brilliant. and the third film. do you have to be a fan of musicalfor this one? of musicals for this one?

it probably doesn't hurt. this is lin—manuel miranda's tribute tojonathan larson, who created the �*90s hit rent, but died before it could open. starring andrew garfield, based on his show about his own failure to get on in early musical a futuristic sci—fi musical based on 1984. anyway, andrew garfield isjohn, who's got all these things approaching. he has to get the showcase on for his musical, but the most important thing that is ticking is that he is approaching a significant birthday. he says if he doesn't do it by then, his life will be worth anything. i need ten copies. you're an angel on earth. this is the last album, seriously. i know, thank you. i don't want you to pay. somebody needs to check out this trash. so, i hearyou're moving out ofjohn's place. that's the end of an era. it's very sad. no, no, we're noti talking about that. wait, carol. you're coming next friday, right? what's happening next friday? the superbia workshop. i'm surprised he

hasn't mentioned it. guys, this is the biggest break i've ever had. - this is that moment. it's the first time people i are going to see the show that aren't just us. good thing you didn't put too much pressure on it or anything. it's true, though. you get to a certain age i and you stop being a writer who waits tables and you become a waiter with hobby. _ you see, it's very energetic. it's very front—foot. it's an adaptation, but it feels like has theatre in it — it has stage theatre in it. but it does feel like everything is at that level and that nothing... fine, 0k. so, you have to love musicals in the first place, anyway. there are some real earworm songs. it's an interesting kind of self—referential thing about somebody writing a musical about their inability to get a musical produced. clearly, lin—manuel miranda loves the stuff, and andrew garfield is terrific. you'd think he had been doing musical theatre forever.

apparently, when he was asked if he could sing he said, "when do i need to do it?" they said a year. he said, "in that case, yes." he learned pretty much from scratch. it feels very stage—y. it reminded me of times at boys in the band, which is always been better on stage than on screen. again, there's a lot of contrivance in that, but on stage, it feels more natural. but i liked i, it's a very interesting story. it's in cinemas now and on netflix. i suspect its primary audience will be on netflix. sometimes it's a little bit like — just dial it backjust a bit. a bit like jazz hands, intriguing. and your choice as best out? now, you want to see spencer. idid. tell me. i thought what was brilliant about it, much to my surprise, was it was so brilliant at doing claustrophobia. oh, yeah. from within a few minutes in, really, you feel so claustrophobic. yet it's set in these obviously

enormous house, beautiful big yet it's set in this obviously enormous house, beautiful big rooms, massive grounds. but as a viewer, i would go somewhere like that and think all this space, all this freedom. of course, it's the last thing that the central character has. it's the shining. basically, it's the shining. she's trapped in it, it's a ghost story. there is literally the ghost of ann boleyn who is there is literally the ghost of ann boleyn who kind of appears to her. all the stuff when she goes up to park house and it's a misty moor and wuthering heights. didn't you think that kristen stewart was absolutely brilliant? idid. i sometimes feel a little uncomfortable watching things about the royalfamily and i know pablo lorraine would say it's not exactly about the royal family. it's a fable from a true tragedy. it is a kind of fairy tale. it iss a princess in a tower and very much. usually, very clever, very clever. visually, very clever, very clever. i thought the claustrophobia was genius. and johnny greenwood score.

just does all the heavy lifting. i love it. i think if kristin stewart doesn't get a major nomination... and if this court is to get nominated i will be very cross. and if this score is to get nominated i will be very cross. i can't believe that won't happen. i can't believe it. dvds, streaming... there's a re—issue of mike lee's naked. because the bfa, a full two coming out on dvd and blu—ray. because the bfa, a full season coming out on dvd and blu—ray. i love so many mike lee films. i haven't watched naked again since i first saw it back in the day, and i suppose i have to. i rememberfeeling very, very uncomfortable watching it. i'll say it is, it hasn't got any less uncomfortable. i'll say this, it hasn't got any less uncomfortable. it's unbelievably quotable but it is very spiky, very aggressive, very misanthropic. certainly in the central character, who is played so brilliant. he is brilliant. i remember him being fantastic, the whole cast is fantastic. it is like spending the time on somebody who is right on the very

edge of aggression all the time. i think mike lee is a genius. it's always worth revisiting his work. for me, nuts in may is one of the greatest things i've ever seen. when you look back at naked now, you go, "wow, that's a powerful piece of work." whether you like it or not, it's a powerful film. it was ground—breaking at the time. very different from so much of his other works. but i could list a few other mike lees that i'd rather sit and watch, i'm afraid. brilliantly, the bfi is doing this whole retrospect was up his entire career is there for everyone to marvel at. which is fantastic. we need a rainy weekend to just sit and watch the lot, it would be wonderful. just watch nuts in may over and over again. thank you very much, mark. see you next time. that is it for this week. enjoy your cinema—going, your streaming, whatever you're up to, and we will have more next week. thanks for being with us. goodbye.

hello there. where the skies stay clear through the night, we see mist and fog. a bit chilly in these areas. there's a lot of drizzly cloud ahead of that but where we keep the brakes, it's a tad on the chilly side. this time of year, it does linger through the morning, but a lot of dry weather for southern and eastern areas. our rainman meanders into the north and west of england and wales. —— rainman. just a rogue shower and still mild as you can see, temperatures 11—13. that above average temperature trend will continue for much of the week for much of the rain across... for the

morning ahead, watch out for some patchy...

welcome to newsday, reporting live from singapore, i'm karishma vaswani. the headlines. borisjohnson says the glasgow climate deal sounds the death knell for coal power — but there's anger that india and china weakened the pledge to phase out its use. we can lobby, we can cajole, and we can encourage, but we cannot force sovereign nations to do what they do not wish to do. china is warning its people that coal is the biggest part of the climate problem — we'll hear why beijing won't act more quickly. queuing to get the coronavirus jab in austria, as two million unvaccinated people are told that from now, they can only leave their homes

for essential reasons.