hello and welcome to the film review on bbc news. to take us through this week's cinema releases is mark kermode. you're going to start with something that's quite nostalgic for something that's quite nostalgic for some of us? we something that's quite nostalgic for some of us?— something that's quite nostalgic for some of us? we have an interesting batch. some of us? we have an interesting batch- we've _ some of us? we have an interesting batch. we've got _ some of us? we have an interesting batch. we've got the _ some of us? we have an interesting batch. we've got the railway - batch. we've got the railway children return. we have the good boss. and we have the grey man, by the russo brothers. but let's start with macworld one —— railway children return. i think it was number 66 in the list of best

british films of all time. this is a sequel set during world war ii. evacuees are sent from cities where they're taking in by the daughter of bobby, who is now the grandmother. amazing. the bobby, who is now the grandmother. amazinu. ~ , ., bobby, who is now the grandmother. amazinu. ~ , . ., , amazing. the kids have adventures, which include _ amazing. the kids have adventures, which include chancing _ amazing. the kids have adventures, which include chancing upon - amazing. the kids have adventures, which include chancing upon a - amazing. the kids have adventures, i which include chancing upon a young african—american soldier with a fine hiding on the railway. here's a clip. hiding on the railway. here's a cli -. ., they scream. stay there! i said stay there! you're — they scream. stay there! i said stay there! you're all _ they scream. stay there! i said stay there! you're all kids? _ they scream. stay there! i said stay there! you're all kids? are _ they scream. stay there! i said stay there! you're all kids? are you - there! you're all kids? are you german? _ there! you're all kids? are you german? no. _ there! you're all kids? are you german? no, i'm _ there! you're all kids? are you german? no, i'm american. i there! you're all kids? are you i german? no, i'm american. why there! you're all kids? are you - german? no, i'm american. why are ou german? no, i'm american. why are you here? — german? no, i'm american. why are you here? we _ german? no, i'm american. why are you here? we call— german? no, i'm american. why are you here? we call the _ german? no, i'm american. why are you here? we call the army? - german? no, i'm american. why are you here? we call the army? no, . german? no, i'm american. why are| you here? we call the army? no, i'm fine. it's bleeding. _ you here? we call the army? no, i'm fine. it's bleeding. i— you here? we call the army? no, i'm fine. it's bleeding. i told _ you here? we call the army? no, i'm fine. it's bleeding. i told you - you here? we call the army? no, i'm fine. it's bleeding. i told you i'm - fine. it's bleeding. i told you i'm fine. it's bleeding. i told you i'm

fine- i've — fine. it's bleeding. i told you i'm fine. i've been _ fine. it's bleeding. i told you i'm fine. i've been through - fine. it's bleeding. i told you i'm fine. i've been through much - fine. it's bleeding. i told you i'm i fine. i've been through much worse than a _ fine. i've been through much worse than a cut— fine. i've been through much worse than a cut tead~ _ fine. i've been through much worse than a cut lead. go! _ fine. i've been through much worse than a cut lead. go! you _ fine. i've been through much worse than a cut lead. go! you won't- fine. i've been through much worse than a cut lead. go! you won't see i than a cut lead. go! you won't see me again! — than a cut lead. go! you won't see me aaain! ~ , than a cut lead. go! you won't see me auain! , .,�* than a cut lead. go! you won't see me again!— than a cut lead. go! you won't see me aain! ~ , .,�* ., , ., me again! why don't you want us to tell the army? _ me again! why don't you want us to tell the army? they _ me again! why don't you want us to tell the army? they can _ me again! why don't you want us to tell the army? they can help - me again! why don't you want us to tell the army? they can help you? | tell the army? they can help you? i'm on— tell the army? they can help you? i'm on a _ tell the army? they can help you? i'm on a mission. a secret army mission, and _ i'm on a mission. a secret army mission, and i_ i'm on a mission. a secret army mission, and i can't _ i'm on a mission. a secret army mission, and i can't talk- i'm on a mission. a secret army mission, and i can't talk about i i'm on a mission. a secret armyl mission, and i can't talk about it but i _ mission, and i can't talk about it but i need — mission, and i can't talk about it but i need to— mission, and i can't talk about it but i need to carry— mission, and i can't talk about it but i need to carry on. _ mission, and i can't talk about it but i need to carry on. so- mission, and i can't talk about it but i need to carry on. so i needi but i need to carry on. so i need you to _ but i need to carry on. so i need you to tell— but i need to carry on. so i need you to tell no _ but i need to carry on. so i need you to tell no one, understand? | but i need to carry on. so i need i you to tell no one, understand? no one! _ you to tell no one, understand? no one! there — you to tell no one, understand? no one! there are _ you to tell no one, understand? no one! there are army— you to tell no one, understand? no one! there are army spies - one! there are army spies everywhere _ one! there are army spies everywhere-— one! there are army spies eve here. �* , ., everywhere. are you german? in the first film, everywhere. are you german? in the first film. they _ everywhere. are you german? in the first film, they take _ everywhere. are you german? in the first film, they take in _ everywhere. are you german? in the first film, they take in one _ everywhere. are you german? in the first film, they take in one of - everywhere. are you german? in the first film, they take in one of the - first film, they take in one of the paper chase her runners. in this, the kids want to come to the rescue. there are shenanigans that involve stopping a train with homemade signs. this time, the plot touches upon racism and the suffragettes, so it's kind of a more modern sensibility. here's the thing, it's very, very hard to follow a film as

well loved as lioneljeffries's original. what this does is it seems to be made by people who love the original for to be made by people who love the originalfor all to be made by people who love the original for all the to be made by people who love the originalfor all the right to be made by people who love the original for all the right reasons and do care about honouring the spirit of it. i don't think this is a classic, but what it is is a piece of family entertainment of the sort we don't really have at the moment. this feels like an old—fashioned full of entertainment, but i'm kind of nostalgic. some of it's a bit creaky, some of it doesn't quite come together quite as well as it could, and it's not the classic like the original is. but it's made with heart and soul. it's hard is definitely in the right place and i was just watching it again, if you are trying to get the whole family to go to the cinema, the kids would enjoy it and the older people like me would watch it going, i love the railway children! it's kind of

charming, and we be out of place with moderate cinema in a wage that is hard to resist. it with moderate cinema in a wage that is hard to resist.— is hard to resist. it looks sort of ruaint is hard to resist. it looks sort of quaint and _ is hard to resist. it looks sort of quaint and calming. _ is hard to resist. it looks sort of quaint and calming. but - is hard to resist. it looks sort of quaint and calming. but quaint, not as a criticism. _ quaint and calming. but quaint, not as a criticism. it _ quaint and calming. but quaint, not as a criticism. it does _ quaint and calming. but quaint, not as a criticism. it does have - quaint and calming. but quaint, not as a criticism. it does have modern| as a criticism. it does have modern sensibility, but it is an old movie. but then, the original film was too. very different, the good boss, which was explained's entry, nominated for a record—breaking 20 awards. i think it's the main reason to see it. he is the boss of a provincial business that makes industrial scale. he says his workers are his family. the company is up for a business excellence award, so what he needs is the company to look good. however, his right—hand man is having crisis. 0ne however, his right—hand man is having crisis. one of the employees has been sacked and set up a protest

camp outside the factory with banners demanding justice. meanwhile, paulvieira's banners demanding justice. meanwhile, paul vieira's character is doing what he appears to have done before. meanwhile, javier's character is doing what he appears to have done before. that is pretty much what it is. it's a corporate satire. it takes pretty kind of familiar pops at corporate capitalism. the whole fact that they make scales is a metaphor that is very heavily overworked. the scales ofjustice being tipped — they trap that into the ground a little bit. but he does that about smiling, patrician, trust me. when underneath, he has the morals of a snake. i think he played that really well. it is worth it for his performance. 5 well. it is worth it for his performance.— well. it is worth it for his erformance. �* ,, ., . ., ., . , performance. 's got an extraordinary face. he

performance. 's got an extraordinary face- he has — performance. 's got an extraordinary face- he has a _ performance. 's got an extraordinary face. he has a very, _ performance. 's got an extraordinary face. he has a very, very _ performance. 's got an extraordinary face. he has a very, very expressive | face. he has a very, very expressive face. he has a very, very expressive face. you face. he has a very, very expressive face- you knew _ face. he has a very, very expressive face. you knew me _ face. he has a very, very expressive face. you knew me by _ face. he has a very, very expressive face. you knew me by the _ face. he has a very, very expressive face. you knew me by the trust - face. he has a very, very expressive face. you knew me by the trust so l face. you knew me by the trust so brothers. —— new movie by the russo brothers. —— new movie by the russo brothers. ryan gosling is a convict. joining an elite force that will operate in the grey area. he is sent on missions to terminate bad guys. he ends up in possession of a computer drive and it awes with his sinister superior. computer drive and it awes with his sinistersuperior. here's computer drive and it awes with his sinister superior. here's a clip. it doesn't qualify. may be on a secure line. _

to the target say anything to you? well, _ to the target say anything to you? well, he _ to the target say anything to you? well, he was — to the target say anything to you? well, he was dead, _ to the target say anything to you? well, he was dead, so— to the target say anything to you? well, he was dead, so no. - to the target say anything to you? well, he was dead, so no. did- to the target say anything to you? well, he was dead, so no.- well, he was dead, so no. did you aet well, he was dead, so no. did you get anything _ well, he was dead, so no. did you get anything off — well, he was dead, so no. did you get anything off his _ well, he was dead, so no. did you get anything off his body? - well, he was dead, so no. did you get anything off his body? good. l get anything off his body? good. that he — get anything off his body? good. that he have _ get anything off his body? good. that he have anything _ get anything off his body? good. that he have anything on - get anything off his body? good. that he have anything on his- get anything off his body? good. i that he have anything on his person that you _ that he have anything on his person that you now— that he have anything on his person that you now have _ that he have anything on his person that you now have that _ that he have anything on his person that you now have that you'd - that he have anything on his person that you now have that you'd like to| that you now have that you'd like to -ive that you now have that you'd like to give to _ that you now have that you'd like to give to me? — that you now have that you'd like to give to me? he— that you now have that you'd like to give to me?— that you now have that you'd like to give to me? a give to me? he was -- who was he? a bad au . give to me? he was -- who was he? a bad guy- last — give to me? he was -- who was he? a bad guy. last chance. _ give to me? he was -- who was he? a bad guy. last chance. understood. - bad guy. last chance. understood. that is a surprisingly _ bad guy. last chance. understood. that is a surprisingly low-key - that is a surprisingly low—key interlude in a movie which for most of its running time is big guns, bigger guns, excluding helicopters, a fight in and out of a plane and an chain —— an insane chase sequence. everything turn up into 11. if the netflix production, but it's in cinema for a week. it's kind of...

if what you want us to have your brain funnelled for two hours, this will do thejob. ana de brain funnelled for two hours, this will do the job. ana de armas brain funnelled for two hours, this will do thejob. ana de armas isn't shaping up as a great action star. chris evans is bad because he has a moustache and because he doesn't wear socks, so we know immediately that he's very, very bad. the set pieces are... the camera never sit still. it's always flying around and zooming hither. it's a lot of visual flash. not much substance, but i kind of think you probably don't go and see the grey man for substance. you see it for big action set pieces, and is shouting, smashing, boom. a much all the way through. there was a point where i thought i was quite tired. it doesn't let up in the fight and chase sequences start and then they go on, and then they go on, and then they go on a little bit more. how do you feel about this? does this look like

you're kind of film? inc. you kind of forget it— you're kind of film? inc. you kind of forget it quickly. got _ you're kind of film? inc. you kind of forget it quickly. got to - you're kind of film? inc. you kind of forget it quickly. got to see i you're kind of film? inc. you kind of forget it quickly. got to see it| of forget it quickly. got to see it in the cinema, _ of forget it quickly. got to see it in the cinema, do _ of forget it quickly. got to see it in the cinema, do you _ of forget it quickly. got to see it in the cinema, do you think on | of forget it quickly. got to see itj in the cinema, do you think on a of forget it quickly. got to see it - in the cinema, do you think on a big screen? �* . in the cinema, do you think on a big screen? �* , ., screen? here's the thing, i did, and i was screen? here's the thing, i did, and i was thinking _ screen? here's the thing, i did, and i was thinking this _ screen? here's the thing, i did, and i was thinking this is _ screen? here's the thing, i did, and i was thinking this is working - i was thinking this is working because it's really loud and it's really big and it is boom, crashing, smashing. a lot of people now it is —— nowadays have sound systems that are pretty decent, but i thought i had the best experience. it was nice and bright, nice and loud, made no sense whatsoever. it did what it said on the ten.— sense whatsoever. it did what it said on the ten. can't argue with that. said on the ten. can't argue with that- !test _ said on the ten. can't argue with that. best out _ said on the ten. can't argue with that. best out already? - said on the ten. can't argue with that. best out already? have - said on the ten. can't argue with . that. best out already? have you've seen elvis? — that. best out already? have you've seen elvis? i— that. best out already? have you've seen elvis? i have _ that. best out already? have you've seen elvis? i have it. _ that. best out already? have you've seen elvis? i have it. do _ that. best out already? have you've seen elvis? i have it. do yourself. that. best out already? have you've seen elvis? i have it. do yourself al seen elvis? i have it. do yourself a favour. seen elvis? i have it. do yourself a favour- take _ seen elvis? i have it. do yourself a favour. take my _ seen elvis? i have it. do yourself a favour. take my word _ seen elvis? i have it. do yourself a favour. take my word for - seen elvis? i have it. do yourself a favour. take my word for it. - seen elvis? i have it. do yourself a favour. take my word for it. i - seen elvis? i have it. do yourself a| favour. take my word for it. i know that some other...

favour. take my word for it. i know that some other. . ._ that some other... there is a difference — that some other... there is a difference of _ that some other... there is a difference of opinion. - that some other... there is a difference of opinion. that'sl that some other... there is a - difference of opinion. that's fine. it's ve difference of opinion. that's fine. it's very simple- _ difference of opinion. that's fine. it's very simple- i'm _ difference of opinion. that's fine. it's very simple- i'm right - difference of opinion. that's fine. it's very simple- i'm right and - it's very simple— i'm right and they're wrong. elvis is a master at peace. are you elvis fan?- they're wrong. elvis is a master at peace. are you elvis fan? yes, how can not be? — peace. are you elvis fan? yes, how can not be? the _ peace. are you elvis fan? yes, how can not be? the more _ peace. are you elvis fan? yes, how can not be? the more you - peace. are you elvis fan? yes, how can not be? the more you like - peace. are you elvis fan? yes, how. can not be? the more you like elvis, the more you — can not be? the more you like elvis, the more you like _ can not be? the more you like elvis, the more you like the _ can not be? the more you like elvis, the more you like the film. - can not be? the more you like elvis, the more you like the film. it's - can not be? the more you like elvis, the more you like the film. it's all i the more you like the film. it's all about his relationship with fame and with his adoring public. i've been in elvis fan since as far back as i can remember and i went to do this so trepidation is. by the end i was in tears. it's absolutely brilliant. don't listen to anyone else. it's a masterpiece and you need to go and see it in a cinema.— see it in a cinema. don't see it on the fence? no. _ see it in a cinema. don't see it on the fence? no. best _ see it in a cinema. don't see it on the fence? no. best dvd? - see it in a cinema. don't see it on the fence? no. best dvd? drive i see it in a cinema. don't see it on l the fence? no. best dvd? drive my car, a the fence? no. best dvd? drive my

car. a japanese _ the fence? no. best dvd? drive my car, a japanese drama. _ the fence? no. best dvd? drive my car, a japanese drama. the - the fence? no. best dvd? drive my i car, a japanese drama. the procedure car, ajapanese drama. the procedure is my favourite soundtrack. this features my favourite soundtrack. when you are at home, three hours watching something on dvd, people binge watch entire box sets, so that's perfectly fine. the soundtrack really brought me back, soundtrack really brought me back, so if you haven't seen it, do go and see it. i think it may be designed to be watched at home. excellent. but no to be watched at home. excellent. !out go see — to be watched at home. excellent. but go see elvis! _ to be watched at home. excellent. but go see elvis! i'll— to be watched at home. excellent. but go see elvis! i'll try _ to be watched at home. excellent. but go see elvis! i'll try to - to be watched at home. excellent. but go see elvis! i'll try to see - but go see elvis! i'll try to see the ball. everyone _ but go see elvis! i'll try to see the ball. everyone must- but go see elvis! i'll try to see the ball. everyone must see i but go see elvis! i'll try to see - the ball. everyone must see elvis! that is it for _ the ball. everyone must see elvis! that is it for this _ the ball. everyone must see elvis! that is it for this week. _ the ball. everyone must see elvis! that is it for this week. thank - the ball. everyone must see elvis! that is it for this week. thank you | that is it for this week. thank you very much for watching. bye—bye. advanced notice of what's

to come, particularly sunday through tuesday with exceptionally high temperatures. a met office read extreme heat warning across a large part of england. —— red warning. this isn'tjust a london thing. manchester, leeds, york included and there is a wider area of the uk. again, widespread impacts. there will be widespread impacts from this. the hailfrom people, notjust the most vulnerable, widespread transport disruption is expected. do have a look at what it means for you because you will need to make some decisions ahead of that heat building. had to the bbc weather website. we had record—breaking

heat, and an area of this is pushing through france and into the uk, but the temperatures within this made unnatural due to climate change. we are not there yet. temperatures have been entirely manageable today. it does become mainly dry overnight in the temperatures rise next week, but for now, really decent. tomorrow, for now, really decent. tomorrow, for the rain pushes into parts of scotland. elsewhere, it's sunny and warmer, close to 30 again in the london area. the pushing northwards and clearing through scotland as it brightens up. a sunnier day in northern ireland. strong sunshine

and higher temperatures. scotland, northern ireland, england and parts of wales getting to 30 celsius or above. monday and tuesday, it's not looking likely that the uk will exceed its highest temperature on record. it is probable that we could see a0 celsius. what once seemed impossible for the uk could well be probable next week. thankfully, from mid week, things will turn cooler.

today at six — a national emergency and a risk to life — warnings as britain faces its hottest day ever next week. temperatures are set to soar to a0 degrees — and the met office has issued a series of alerts, including a red warning for parts of england. red warnings are really rare. this is the first one we've ever put out the heat. it means danger to life and widespread infrastructure impacts. with record temperatures expected, people are being urged to take them seriously — and to take precautions. we'll be looking at the impact the heatwave might have on your health and tell you what you can do to keep cool there are warnings too that the extreme heat will affect travel early next week. also on the programme. a british man, paul urey,

has died while being detained by russian—backed separatists in eastern ukraine.