James bond

Times being what they are, James Bond can no longer just be the main character in the Bond films. He’s also had to become a defiant metaphor for them. Since Daniel Craig took over the role, Bond has regularly been told that he’s badly outdated. Yet, by the closing credits, he’s once again proved how much the world still needs him. That this has been reflected at the box office is, I’d suggest, largely down to one neat trick: Craig’s Bond films have thrown in just enough gruff emoting to get people to go along with the pretence that his Bond is a radical reinterpretation, while still essentially sticking to

Mark Millar has a raging hangover but he couldn’t be more chirpy or enthusiastic. ‘People say they get worse as you get older but I get reverse hangovers where I feel amazing. I wake up at four or five and I’m ready to go!’ I’ve caught him on a Sunday morning, on his way to Mass, after an exhausting three weeks in which he has been doing up to 45 interviews a day to promote Jupiter’s Legacy, his blockbuster superhero series for Netflix. He ought to be nervous: this is his first big project off the blocks since (in 2017) the studio bought up his publishing company Millarworld for a

‘This film would not have been possible without the following encryption tools,’ is one of the least expected film credits I can think of. But then again, Laura Poitras’s Risk is not exactly your run-of-the-mill documentary. After her Oscar-winning Citizenfour, a gripping hour-by-hour account of Edward Snowden’s NSA surveillance disclosures from his Hong Kong hotel room, Poitras’s latest is an intimate portrait of WikiLeaks founder and editor-in-chief Julian Assange. Poitras started filming Assange at work in 2010 and her film follows the whistleblower’s mission and his various legal travails since then. As a result, Risk is far less dramatically sensational than Citizenfour, which unfolds over the course of several history-making days.

Sir Ken’s excellent West End residency continues with a sugar-rich confection. Sean Foley has adapted and updated an elderly French farce about an assassin who befriends a needy depressive. Hitman Ralph rents a hotel suite overlooking a courtroom where his target is due to make an appearance. The neighbouring room is occupied by a mopey Welshman, Brian, who wants to hang himself from the light socket. Ralph discovers Brian’s plan and realises that Brian’s death will fill the hotel with cops and ruin his assassination attempt. So Ralph must save Brian from suicide. It’s a pretty clunky scenario and the logistics are frankly incredible because the design postulates two adjacent single

The Night Manager (BBC1, Sunday) announced its intentions immediately, when the opening credits lovingly combined weapons and luxury items. ‘Blimey,’ we were clearly intended to think, ‘it’s a bit like James Bond.’ True, the main character works — at this stage, anyway — in the hotel trade rather than as a secret agent. Yet, when it comes to dress sense, being irresistible to the ladies and alternating between looking suave and enigmatically purposeful, Jonathan Pine (Tom Hiddleston) has little to learn from the great man himself. Pine was first seen heading to work in 2011 through an uprising in Cairo where dozens of extras were demanding the overthrow of President

Spectre is the 24th film in the Bond franchise, the fourth starring Daniel Craig, the second directed by Sam Mendes, and the first at not much of anything. Nothing new to report, in other words. It probably delivers what the die-hard fans want, but it is not like Casino Royale or Skyfall (no one talks about Quantum of Solace, by the way, because it’s assumed everyone involved was drunk) as it doesn’t deliver to those of us who never liked Bond, but then discovered that we did. Where has Bond’s interior landscape gone? Where is his woundedness? Where is the emotional heft? Who might we actually care about here? At

Quite the oddest sensation last night at the first public screening at the Odeon, Leicester Square, of the new James Bond movie, Spectre, was being at the heart of a really big gathering where no one had a mobile phone. All the smartphones were confiscated at the door for fear of piracy and the spectacle of London’s finest not knowing what to do with their hands was quite something; some people positively talked to each other. The downside was the scrum at the end to retrieve them. The other odd thing was the feeling of being a bit out of sync with the rest of the gathering. At the same