that's all from sportsday. just a reminder come in the last 15 minutes or so, they completed a1—0 minutes or so, they completed 31—0 victory in the premier league and minutes or so, they completed a 1—0 victory in the premier league and a hugely intriguing and entertaining game, vitalfor all of hugely intriguing and entertaining game, vital for all of those who are hoping that manchester city don't run away with the premier league this season. it is ours know who ended the day top of the premier league by four points. next up, it's the film review. film review on bbc news. i'mjane hill and with us, of course, for ourfinal fling is mark kermode. hi, mark. hello. we won't end with a whimper,

but with a bang — we have halloween ends. does it, though?! we have a new version of all quiet on the western front. emily, inspired by the life of emily bronte. that makes me livid. and for the king crimson fans, in the court of the crimson king. yeah, it's quite a striking mix you got for us. it is, so let's start with halloween ends. please, please, please let this be over! so, a few years ago, david gordon green and jamie lee curtis did something interesting with the halloween franchise, they updated halloween with added ptsd — hooray, something interesting! and then they spoilt it all by saying it is a trilogy, so then we had halloween kills, which is just back to the usual stuff, plod, plod, plod, plod, stabby, stabby, plod, plod. now, halloween ends which has a usual plodding stabby stuff, but with some added nietzschen about you look long into the abyss and the abyss looks back into you. and some nonsense about it takes a village to raise a child and maybe

evil is being passed on. here's a clip! alison is not equipped for this relationship and i will not let her get hurt, so stay away. you started this! you brought me in, you invited me! but you're the one to blame. if i can't have her, no—one will. you want to help alison? let her live her life. she has me now. now, on the positive side, it's got an interesting opening seven minutes. there is a bit at the beginning when i went, this is great, anything happened, i hadn't expected that, great, and then it's... oh, no, it's that film again. and remember, with the first halloween, good, very cheap movie, it was all to do with tension and suspense and building on that stuff and some genuinely scary moments. here — no tension, no suspense,

no scary moments, no shocks, no surprises. compare this to, for example, smile, which is currently doing terrifically well at the box office, which is a kind of quiet, quiet, bang horror movie, but it does it well. this just feels like patience—testingly dull stuff. the only thing that's worth saying about it is it should never have been a trilogy. you got away with the 2018 thing, hurray. halloween ends, please, let this be the end of it. i never, never, never want to hear anything about michael myers ever again in my whole life. but you just know a few years on and it will be halloween begins again, the curse lives on. i don't know how you make a horror film that's not scary. in fact, it's a horror film i could watch if it's not scary! all those times i have said to you, you should go and see a horror film — don't, don't! stay away from this one. on a much more serious note... absolutely. all quiet on the western front, which is a new adaptation of the �*20s novel, which was the best picture winner in 1930, the adaptation of it.

this is a netflix—backed german production, which is germany's entry for the 95th oscars. directed by edward berger. he said it's a physical, visceral, very modern film that's never been told for my country's perspective, never been made into a german language film. we now have the chance to make an anti—war film that will truly touch audiences. it is in cinemas now and on netflix on the 28th. i think it's worth seeing on the big screen because i think it is visually really, really impressive. it's not unlike 1917 — it puts you there in this absolute hellscape seen through the eyes of these incredibly young men. and i think it's genuinely, properly harrowing. you watched it — what did you think? genuinely harrowing. i thought it was brilliantly made. it looks fantastic. it's stunning to look at. worth seeing... but it breaks you, it breaks you, as it should. we all know how many young men lost their lives in the first world war, but it again makes you think about the horrors, what they lived through. clearly, all be ptsd that they didn't even

have a name for back then. it's not an easy watch. of course it's not an easy watch, but it's beautifully made. and nor should it be an easy watch, and i think that's the point. i think it's really well made, terrific score, incidentally. very, very powerful. and i think worth seeing on the big screen, but it will be on netflix on the 28th. i would agree with that. and great central performances, a new, as the main young soldier and he's terrific. i think the whole thing is really, really well done and the fact that they are using very modern techniques, applying them to an old story, but making it completely relevant, much in the same way that i think 1917 did. so, to emily, which is an imagined life of emily bronte, the terrific central performance by emma mackey. the film begins with charlotte bronte saying to emily, "how did you write wuthering heights?" she is kind of shocked by it and then the film flashes back to speculate about where that came from. we see the young bronte sisters telling each other stories, we see brother branwell dazzling emily before going off the rails. we see the growing struggles between the sisters, and we see the arrival of a handsome

new curate, who insists that he loves the rain, but not as much as the girls. here's a clip. giggling. look, he does like the rain! he loves it! the sounds of it. the smell of it. from now on, we shall call him miss celia amelia. i'm a fool. no, you're not. let him rather be a fool do not live at all. - you're an embarrassment to us. do you know what they call you in the village? - stop it, charlotte. no! they call you the strange one. and you are. mother would be ashamed i to see who you've become. every time i come home, i see more and more what you are becoming. i i won't let you drag me down. i won't! i'm going to make something of myself. charlotte... so, this is written and directed by frances o'connor, who of course is an actor—turned—director. making her directorial feature debut

and i think she does a terrificjob of it. the first thing to say is, in much the same way as andrew dominik�*s blonde is not a biopic about marilyn munro, this is not a biopic about emily bronte. this is much more an imagined life, it's an attempt to put on screen the emotions and feelings of the writing, and to do it in an invented way that perhaps lets you into the real—life character. but it's not factual, it's not tied to factual detail. i thought it was great, partly because it's really vibrant, it's a really, really lively film. bio pics, particularly about writers, can often be, "and then i sat down and wrote something by candlelight "and it was very hard...the end." what this does is it kind of take creative liberties. the performances are universally great, again, another very good score. you feel the landscape, you get a sense of what's inspiring her as a writer. but it's also, i'm

delighted to say this — an element of horror in it! is there?! there is! in emily bronte? exactly. i know the correct way is we should say gothic, ok, but, no. gothic and horror are basically the same thing. and there is a sequence in it involving putting on a mask during a parlour game, which kind of then turns into a seance, which i think is one of the creepiest things i've seen in a very long time. so, for the last time and going to say this to you — it's not a horrorfilm, and it genuinely isn't, but it has things in it that i thought were properly creepy in a way which i found really exciting. and i have to say, i did not expect to like it anything like as much as i did. i thought it was really inventive. interesting. and i really, really enjoyed it and i think you'll like it too. and just a smidge of horror. iwill watch, i promise. really interesting choice you have for us as our last one. prog ahoy! this is a film which is in cinemas on wednesday 19, just one day

and then one day streaming on saturday 22. in the court of the crimson king, a documentary about king crimson, who are the musicians musicians, the band that people look up to and worship and idolise. theirfans, hardcore fans, literally feel like their lives have been changed by king crimson. 50th anniversary of the band, robert fripp, who is the kind of mainstay of the band, agreed to let toby amies, who made the man whose mind exploded make a documentary. i have to say that one of the things that comes across is that most of the members of the band, including robert fripp, have not found being in king crimson an easy experience. here's a clip. the overview of my personal involvement in king crimson is that it's been incredibly unhappy. in a word, wretched, i would say, from 1969 until 2013. singing now, i don't know if you are a big king crimson fan. singing. now, i don't know if you are a big king crimson fan.

i'll tell you what i love about the documentary — on the one hand, it is about the pain of making art, it's like if you're going to take music this seriously, it's not a lot of laughs. but the documentary is funny, because toby amies is a very sharp filmmaker who understands how to put something together in a way that, even amidst great sadness and great darkness and huge amounts of conflict — i mean, huge amounts of conflict — i found the film really entertaining. i think that no matter what you think about king crimson, you could enjoy this documentary. what's interesting is that i'm afraid i knew nothing about king crimson. i know an awful lot now. i was fascinated by some of it. it reminded me of whiplash. oh, that's interesting. because robert fripp is such a hard task master, clearly brilliant, but, you know, would you want him as your boss? and that reminded me of that whole theme in whiplash, where do you... he practices every day, but where does that cross over into just taking it too far, let the perfectionism, all of that. we saw him practising

there and there is a moment in the documentary where he's had a really long day and he says, "i've got to go and do two hours practice now," and toby, the director, says, "can't you just give yourself the night off?" and he says, "you wouldn't ask an olympic athlete that." ok, that's right on one hand but on the other hand, just give yourself a night off! yes, just enjoy it! you will still be able to... i think what makes it work is that there is humour in there amidst all the angst and the torture and it does also accept the fact that they are remarkable musicians. yes, remarkable. and that is a really interesting choice, i think, on which to end. thank you. it has been an absolute pleasure and a privilege. although i've sat here since 2018 and i still haven't got to the end of a horror film, have i? well... i'm nothing but a disappointment to you, mark. no. well, what you've done, which i've been really impressed by, is that you've listened to my trying to sell horror movies to you and i think you've decided, "horror is not for me," which is perfectly fine. horror is definitely not for everyone but thank you for putting up with all

the times i've tried to tell you... the amount of times i've said to you, "it's not a horror movie" when, honestly, it was. but it's been a real pleasure, i've really, really enjoyed our conversations. and if it's encouraged anybody to go and see something they wouldn't have seen otherwise, then great. i was trying to think of something profound to say at the end and i was thinking of, "here's looking at you, kid", but i think it's better to say this from lock, stock and two smoking barrels, "it's been emotional." mark, bless you, thank you very much indeed and thank you for watching and i hope you continue to enjoy your film going. bye—bye from both of us. hello there. we've seen plenty of sunshine, really, for most parts of the country through the afternoon, but we are beginning to see signs of a change now with thickening clouds towards our southwest. that cloud is associated with this area of low pressure that's going to be pushing its way northeastward overnight and into tomorrow as well. so, rain arriving pretty quickly this evening across england,

wales, northern ireland. a dry start to the night in scotland, the rain arriving later on. some of the rain will be quite heavy at times. the winds generally coming up from a southerly direction, so it is a mild night with temperatures 10—16 celsius across parts of east anglia and southeast england as we head into the first part of monday morning. monday sees rain clearing away from eastern areas of england, but in scotland, the rain just eases to blustery showers here, so it does stay pretty unsettled for northern areas, the rain pretty persistent in shetland. should be increasing amounts of sunshine, though, through the afternoon across wales and england, and it's here where it will continue to be very mild for the time of year with highs up to 19 celsius tomorrow afternoon.

this is bbc news broadcasting to viewers in the uk and around the world. i'm lucy grey. the headlines. uk prime minister liz truss meets her new chancellor to discuss further changes to the mini budget as many in her own party question herfuture. jeremy hunt says voters do not need more turmoil. what they want is stability. and the worst thing for that would be more political instability at the top, another protracted leadership campaign. i think that is the last thing people want to happen. iranian authorities say four inmates are dead after a fire at a prison in the capital, as protests continue. china's president xijinping has defended his controversial zero—covid strategy as the communist party gathers in beijing.