with a penchant for cakes, smoothies and cutting off his enemies�* fingers. i don't like you. you've onlyjust met me. written and directed by] blakeson, who made the viscerally—twisty three—hander, the disappearance of alice creed, i care a lot is carried by pike, who wears a smile that looks like it could strip wallpaper at a0 paces. no living family? no family at all. as for dinklage, he's very well—cast as the sotto—voce criminal who hates getting angry and who sucks a straw like a vampire sucking blood, a quality mirrored by his new nemesis. lensed in bubble gum hues that seem to reflect the artifice and plastic superficiality of this world, blakeson�*s film has a slick, vacuum—sealed sheen matched by a brittle synthpop soundtrack. as with alice creed, the genuinely disturbing elements of the opening act gradually give way to more generic heist—y thrills, with blakesson reveling in wrong—footing the audience, upending our sympathies and allegiances in a manner that recalls the wachowskis�* debut feature, bound. i don't lose. i won't lose. i'm never letting you go. ohh. you're in trouble now. the result is a nicely nasty black comedy, a roller coaster ride that swaps genuine moral dilemmas for something rather more disposable. picking you up, spinning you round, and leaving you feeling entertained — if a little bit empty. you can find it now on amazon prime video. now, it's hard to remember a movie being more badly—received than music. the directorial feature debut from popstar—turned—film—maker sia, which came to uk vod platforms this week. it centres on two half—sisters, kazoo and music — and yes, i'm sorry, those really are the characters�* names. she sees the world in a completely different way from us. kate hudson's kazoo, orjust zu for short, is a recovering alcoholic and drug dealer who is unexpectedly required to care for her younger sibling, music, a young woman with autism who'd previously been living with her gran. music is played by former dance mum's star, maddie ziegler, prompting charges of ableism from those who thought the role should have gone to a neurodiverse performer, and have also slammed the film's depiction of the dangerous physical restraint used to subdue its title character. music, it's yourfriend, ebo. sia's response to these criticisms was first aggressive and then apologetic. she's since conceded that she "listened to the wrong people" and announced that future editions of the film will come with a warning and some cuts. yet those alterations won't change the fact that this is trite nonsense that can best be described as woefully misjudged. we're about to have a pool party! robot voice: i am happy. swerving unevenly between cliched real life and day—glo coloured fantasy, music is a film that attempts to tell its internal story through the medium of modern dance and fails spectacularly. you can do this. from ziegler�*s gurning performance, which smacks of caricature, to hudson's utterly unconvincing portrayal of a hardened alcoholic — yeah, right — to the inclusion of celebrity cameos from the likes ofjuliette lewis, henry rollins and sia herself. the whole thing has a whiff of a misguided vanity project. as for the dance numbers, they're toe—curlingly awful — the kind of thing rowan atkinson would've come up with as his mime artist alter ego, alternative car park. the fact that music has been nominated for two golden globes just serves as a reminder that that dismal debacle is run by a bunch of unaccountable bozos who know nothing about film and whose votes are based entirely on the members�* desperate desire to hang out with famous people. # oo—oo—ooh, love you too... # this is the number we always play when people ask us to play more, because we know that after we play this if they couldn't possibly ever want to hear us again. now, when he�*s not being one half of bill and ted, alex winter has carved out in impressive directorial career, an impressive directorial career, from the early—�*90s horror—comedy freaked to his latest outing, zappa, a documentary about the musical legend built upon a wealth of largely unseen personal archive material. i haven�*t heard anything like it before or since. frank embodied everything. you couldn't say, "oh, yeah, that's rock'n'roll, because it wasn't." it'sjazz — no, it's pop music — no, well, what the hell is it? it's zappa. describing his film as not a music doc or a conventional biopic but the dramatic saga of a great american artist and thinker, winter�*s passion project follows zappa�*s career from his days in the �*60s with the mothers of invention to his later orchestral projects. it also covers his fight against music censorship in the �*80s, even though the discs under attack were not his own, and his strange political career, which saw him being invited to become the czech republic�*s special ambassador to the west on trade, culture and tourism — yes, really. it's time for a revolution. i�*ve often said that the real test of a documentary is whether it makes you feel involved with a subject in which you had no previous interest. while the recent doc king rocker had had the advantage of being about a musician i really like, namely rob lloyd. my affection for zappa�*s music is, at very best, passing. i mean, i enjoy the stuff he did with beefheart, but not much else. so it�*s a credit to winter that zappa had me gripped, told me stuff i didn�*t know, and even convinced me to track down some of frank�*s classical compositions — not something i ever thought i do. i think if you shoot any lower than that, you're gonna wind up with something sleazy. making inventive use of graphics and animations to augment the interviews, concert footage, and home movie reportage, this is a thorough and thoroughly engaging account of a prolific artist, a film that william s preston esquire would doubtless hail as, "excellent." you can find it at altitude. film. from the glades of california�*s laurel canyon to the suburbs of rome with bad tales, the berlin award—winning second feature from the d�*innocenzo brothers. speaking italian despite the directors�* family name there�*s precious little innocence on display in this visually stylish yet morally dyspeptic tale which invites us to share its fashionably cynical worldview. in italian: narrated by a man writing in a young girl�*s diary, the story is declared to be "inspired by a true story that was inspired by a false story that is not very inspired" — a phrase which seems to provide its own review of the film. in italian: what follows is a collage of adults behaving badly while children imitate their behavior. parents acting like kids who act like bad parents in a dark suburban fairy tale. there�*s no doubting the artistry of bad tales, which is evocatively shot to juxtapose the hot summer setting with the coldness of its depiction of humanity, but beyond being a queasy exercise in modern gothic grotesquery, i�*m not sure that this has much to say, sharing the overheated bleakness of ulrich seidl but lacking the coming—of—age empathy of, say, lynne ramsay. personally, ifound myself increasingly impatient with the film�*s ever—so—slightly smug attitude, although others seem much more impressed. you can find bad tales now on mubi, which is also currently home to a couple of delightful canadian oddities. war. a foreign menace emerges and the fate of our country hangs in the balance. our troops spring into action... we shall fight for all that is right, and we will not stop until the world is perfect. but could one man be destined to save our great nation? in matthew rankin�*s debut feature, the twentieth century, the film—maker constructs a satirical account of one man�*s battle to fulfil his destiny and become the canadian prime minister, proudly flying the flag of national disappointment. a dizzying collage of absurdist set pieces that draw inspiration from everything from orwell to german expressionism, this is divertingly bonkers fare, a hallucinogenic meld of twisted history and celluloid madness with a hint of dada, a dash of dali, and a smidgen of monty python�*s meaning of life. a new century. it also owes a debt to the great guy maddin, whose film work spans from tales from the gimli hospital to the saddest music in the world and the brilliantly surreal docu—fantasia my winnipeg, one of my favourite films of the 21st century. maddin�*s latest, also on mubi is stump the guesser, a short co—directed with thejohnson brothers and boasting maddin�*s trademark blend of soviet silent cinema styles and deadpan satire. its subject is a carnival act who can guess anything, from someone�*s age to how many fish they have secreted about their person. but when our antihero meets and falls for a woman who turns out to be his sister, he must disprove the theory of heredity so that he may marry the love of his life. clearly maddin�*s work is not for everyone, but his films have consistently made me laugh, cry, and scratch my head in wonder, and if you�*re looking for a way into his bewildering back catalogue then this head—spinning short is just the ticket. that�*s it for this week. thanks for watching the film review. stay safe and i�*ll see you next week. good night, children. hello and welcome to sportsday. coming up this evening... after 7,817 days, everton eve rto n get everton get their first win in the merseyside derby thanks to richarlison. a dramatic turn of events sees northampton secure a last— minute win at champions exeter in the premiership. and naomi osaka says she won�*t be weighed down by the pressure as she cements her place as the star of the women�*s tennis by winning herfourth grand slam. welcome along to sportsday — lots to bring you — but there�*s only one place to start and that�*s with the merseyside derby. everton have not won at anfield this century... until today. carlo ancellotti�*s side were 2—0 winners against liverpool in the premier league and, with it, moved level on points withjurgen klopp�*s side in the table. joe lynskey reports. the biggest fixtures feel the most empty, but everton knew the anfield silence brought opportunity. they had not won here for two decades but faced a liverpool side in turbulence. they had lost their last three here and have a patched up defence, so everton went at them. through to richarlison. _ everton went at them. through to richarlison, first _ everton went at them. through to richarlison, first chance _ everton went at them. through to richarlison, first chance for - richarlison, first chance for everton, first goal for everton! richarlison�*s open i was inside three minutes, their multi—million pound brazilian who grew up in a favela, writing his name in merseyside history. liverpool have scored just one goal here this year. their creativity has been replaced by long—range efforts. jordan pickford saved brilliantly. that shot came in from jordan henderson but soon he would go on liverpool�*s missing list. another player at centre back, another injury. but everton�*s defenders were holding firm. liverpool�*s second—half pressure met last—ditch tackles and brave goalkeeping. the away side soaked it up and then counted. penalty for everton. trent alexander—arnold couldn�*t get out of the way but how he stopped calvert—lewin was judged enough for a penalty. gylfi sigurdsson scored it. everton had waited 22 years. their last winner here was in 1999 but, in this fixture now, they will look back to the game in the lockdown when everton went around to the neighbours�* and finally one. plenty more reaction on that on the bbc sport website. southampton boss ralph hasenhuttl hopes his side�*s 1—1 draw against chelsea will be the start of good things to come. the result ended the saint�*s run of six successive the result ended the saints�* run of six successive defeats in the league. chelsea missed out on the chance of strengthening their position in the top four — and it was a tough day for callum hudson—odoi — substituted off 31 minutes after being brought on. nick parrot reports. it�*s more than six years since southampton last avoided defeat at home to chelsea. with the london side�*s resurgence since thomas tuchel took charge and running rings around their hosts, their hosts, the outcome at st mary�*s seemed inevitable. but they spurned their few chances to capitalise on their possession. it looked like the saints would need a miracle. surprisingly, their prayers were answered. in their first threatening attack, takumi minamino showed chelsea how to finish. it was the first time they had fallen behind under tuchel. southampton�*s problems this season stem from not being able to hold on a lead. alex mccarthy was able to keep kurt zouma at bay but when danny ings�* rash tackle gave chelsea a penalty, there was no stopping mason mount.

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