Unseen ‘log fight’ footage from Bruce Lee film Game of Death to be released

Scene which has long been the holy grail for fans will feature in a new box set marking the 50th anniversary of the star’s death

Long-lost unseen footage of the celebrated “log fight” scene from the Bruce Lee film Game of Death is to be released in a new box set marking the 50th anniversary of the famed actor and martial artist’s death.

Lee, who shot to fame around the world with the 1973 film Enter the Dragon, died on 20 July 1973 before he could complete shooting on Game of Death, which eventually emerged in 1978, incorporating some of the original footage in a largely reshot and rewritten version.

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View to a killing: Roger Moore auction to sell James Bond memorabilia

Famously suave actor’s family selling items ranging from Lamborghini skis to luxury watches, cufflinks and numerous silk ties

If you ever wanted to dress, schuss or tell the time like James Bond, now might be your only chance: a selection of items including dinner suits, silk cravats, Lamborghini skis and a special edition Omega Seamaster watch are up for auction, all from the personal collection of 007 himself, Roger Moore.

Moore, who died in 2017, played Bond in seven films between 1973 and 1985, beginning with Live and Let Die and ending with A View to a Kill. His family are selling 180 lots of Moore’s own memorabilia, with part of the proceeds going to the United Nations Children’s Fund (Unicef), which appointed Moore as a goodwill ambassador in 1991.

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Idris Elba: racist backlash made speculation over James Bond ‘disgusting’

Star of The Wire and Luther says playing 007 would be the pinnacle of an actor’s career, but the discussion became ‘off-putting’

Idris Elba has said that the racist backlash to the prospect of him being cast as James Bond “made the whole thing disgusting and off-putting”.

Elba was speaking on the SmartLess podcast about the continued speculation linking him to the role, saying: “I was super complimented for a long time about this. We’re all actors and we understand that role is one of those coveted [roles] … Being asked to be James Bond [would be] like: ‘OK, you’ve sort of reached the pinnacle’. That’s one of those things the whole world has a vote in.”

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James M Cain: lost story by ‘poet of the tabloid murder’ discovered in Congress library

Strand Magazine will publish Blackmail, a tale of a blind Korean war veteran, found by New York editor Andrew Gulli

A New York editor and literary detective is celebrating the discovery and release of an unpublished short story by James M Cain, one of the greats of American noir, a “poet of the tabloid murder” whose works made famous on film include The Postman Always Rings Twice, Double Indemnity and Mildred Pierce.

“For all the work that you do,” said Andrew Gulli, editor-in-chief of the Strand Magazine, “like 2% of the time you hit the jackpot. I just feel so good. It’s worth it.”

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Ian Fleming’s lost James Bond screenplay reveals a very different 007

With no Moneypenny and no M, a previously unpublished script reveals the author’s original ideas for Moonraker

In the action-packed film Moonraker, James Bond escapes from Jaws, the metal-toothed villain, on a hang-glider that ejects from a speedboat just as he drives over the precipice of a waterfall. It is one of numerous outlandish scenes in the film that Ian Fleming never wrote in his original 007 novel. And it could not be more different to the author’s own version of the film, according to a previously unpublished script.

In 1956, a year after the Moonraker novel was published, Fleming wrote his own 150-page film treatment with a plot that is as serious as the 1979 film is lightweight, despite Roger Moore’s charm as the fictional spy.

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Emily the Criminal review – Aubrey Plaza charges taut thriller

A gig worker turns to credit card fraud in a tense debut feature with an electrifying central performance

It’s hard to really blame Emily (Aubrey Plaza) for choosing a life of crime. A low-paid service gig brings nothing but stress. A seemingly inescapable student loan is gathering interest by the day. A couple of minor, years-back criminal charges have closed off a world of employment. It’s a familiar predicament that plagues many in America and even though first-time writer-director John Patton Ford might only show it in the broadest of strokes, it’s an effectively infuriating set-up.

When Emily is offered an opportunity for an extra income, she nervously inches down the rabbit hole. It starts off simple. She’s given a cloned credit card and has to buy a TV. She then takes it to her new bosses and gets paid $200. It’s easier than she anticipated and soon she’s doing it on the regular, edging closer to taskmaster Youcef (Theo Rossi) who slowly becomes more than her mentor. But how far is she willing to go?

Emily the Criminal is showing at the Sundance film festival with a release date to be announced

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Nanny review – promising domestic worker thriller gets jumbled

A Senegalese immigrant nanny battles micro-aggressions and otherworldly forces in a novel yet loosely assembled debut

It’s remarkable how infrequently modern-day domestic workers are portrayed as fully formed characters in TV and film, given their ubiquity and necessity in the lives of so many. Perhaps part of that is because “the help” isn’t meant to be noticed (the flamboyant Fran Fine notwithstanding) or that the lives of low-wage people of color, many of whom are immigrants, haven’t traditionally piqued the interest of privileged Hollywood. When domestic workers do see screen time, it’s often through the gaze of the privileged.

Enter film-maker ​​Nikyatu Jusu, whose mother, an immigrant from Sierra Leone, had been a domestic worker. Raised in Atlanta, the young Jusu watched her parent “put her dreams to the side to be a peripheral mother in other mother’s narratives”.

Nanny is showing at the Sundance film festival with a release date to be announced

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MI6 chief thanks China for ‘free publicity’ after James Bond spoof

Rare response from Richard Moore comes after state news agency posted video mocking western intelligence

Britain’s spy chief has thanked China’s state news agency for “free publicity” after it posted a James Bond spoof that mocked the western intelligence community’s growing focus on threats posed by Beijing.

The rare response by the head of MI6, Richard Moore, on Thursday comes as China and Britain clash over Beijing’s treatment of its Uyghur minority and creeping authoritarianism in the former British colony of Hong Kong.

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Dirty Harry at 50: Clint Eastwood’s seminal, troubling 70s antihero

The off-the-leash cop archetype was cemented with Don Siegel’s taut, provocative thriller that neither condemns or condones extreme measures

Harry Callahan is the cop we’ve been warned about. Though this week marks fifty years since Don Siegel’s genre-defining thriller Dirty Harry busted into cinemas with Smith & Wessons blazing, the general profile of dangerous, off-the-leash law enforcement solidified over the last half-decade of public discourse sounds like it could’ve been traced from the film’s example. Played with a scowl of blanket disgust by Clint Eastwood – Paul Newman had passed on the role as “too right-wing” – San Francisco PD’s top inspector is more than your standard-issue misanthrope. He’s an equal-opportunity bigot, contemptuous of every ethnic group rattled off by a fellow officer in a laundry list of slurs. He’ll readily resort to violence in his work, not above a bit of crude torture to extract information from a perp with a bullet wound. And most hazardous of all, he believes himself unanswerable to anyone but God, who he’d probably just meet with the same glowering frown.

From its earliest stages of development, the script conceived by husband-and-wife team Harry and Rita Fink made clear that Harry’s no boy Scout, but partisans on either side of the ideological aisle looking for affirmation in their stance will be disappointed. Those with hopes for an out-and-out denunciation of this brutish approach to policing have another thing coming, the coarser methods often validated by necessity, as if Harry’s the last line of defense for a society teetering on the brink of anarchy. (The guy can’t even get a hot dog without a bank robbery demanding his attention.) Any gung-ho types walking away as converted Calla-fans have also missed something crucial, however, blind to his placelessness in the city he’s sworn to protect. Neither condemning nor condoning his actions, the film offers what may be the clearest image of the archetypal cop’s self-perception as the only one willing to do the dirty jobs holding America together, even if it means getting dirty yourself.

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Gugu Mbatha-Raw: ‘It’s a misconception that people act to get attention’

Shaped by her father’s early life in apartheid South Africa, the actor brings political awareness to all of her roles, from Black Mirror and The Morning Show to the new BBC thriller The Girl Before

As those of us who have spent more time than usual at home over the last couple of years will know, those four walls can be a sanctuary, prison or, at times, both. Beautiful, monolithic and eerily empty, the house in the new BBC/HBO drama The Girl Before is definitely both. “The house,” says Gugu Mbatha-Raw with a laugh, “is the real star.” At one point in the first episode, Mbatha-Raw’s character Jane appears to have developed an intense relationship with it, caressing its smooth stone and glass.

In The Girl Before, adapted from the bestselling psychological thriller by JP Delaney, Jane passes a rigorous vetting process before being allowed to rent this minimalist dream home. In return for cheap rent, she has to agree to around 200 strange and stringent rules set by the architect and owner. “No books?” she says, incredulous, when the estate agent reels off some of the stipulations (no pictures, no ornaments, “no children, obviously”). Jane will be watched, her every move and metric monitored, even her moods influenced, by the technologically advanced house and its creepy creator. She soon finds out that she is the second tenant – and she makes a chilling discovery about the first, Emma (played by Jessica Plummer).

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Knocking review – noises in the night fuel urban paranoia and apartment angst

Claustrophic tale of a woman falling apart in her flat is familiar territory, but told here with fresh panache

Documentary-maker Frida Kempff makes her feature debut with a Swedish-set thriller drenched in urban paranoia. Molly (Cecilia Milocco), who has recently finished a stay at a psychiatric hospital following a personal tragedy, has moved into a new flat hoping for a fresh start. The plan proves futile: she is soon plagued by mysterious, relentless sounds of knocking coming from her ceiling. Convinced that someone is being hurt, Molly is determined to trace the origin of this mysterious cry for help, only to be faced with others’ disbelief and her own deteriorating sanity.

Such a premise is by no means novel – apartment angst has been done to death since at least the mid-60s, after Polanski’s Repulsion – yet the eerie visuals and Milocco’s heart-wrenching performance elevate Knocking above its otherwise thin plot. Set during a scorching heatwave, the film beautifully pairs the restlessness of the summer with Molly’s own wandering mind, which scissors back and forth between her claustrophobic present and sun-drenched memories of a former lover on the beach. Natural light only exists in these aching echoes of the past. Mostly shot inside Molly’s flat, the imagery is smothered in jaundiced fluorescent tones, only accentuating her isolation and worsening state of mind.

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Last Night in Soho review – a deliciously twisted journey back to London’s swinging past

Slasher fantasy and ghostly magic collide in Edgar Wright’s heady thriller about a fashion student who is mysteriously transported into the life of a 60s nightclub singer

“It’s not what you imagine, London,” says Rita Tushingham in this deliciously twisted love letter to Britain’s cinematic pop-culture past. Director and co-writer Edgar Wright, whose CV runs from the rural action-comedy Hot Fuzz to the recent dramatic music doc The Sparks Brothers, has cheekily described Last Night in Soho as “Peeping Tom’s Midnight Garden”, a mashup of seedy Soho nostalgia and melancholy magic. Making superb use of its West End and Fitzrovia locations, and boasting a cast that includes Terence Stamp (cutting a silhouette that weirdly recalls William Hartnell’s Doctor Who) and Diana Rigg in her final role, it’s a head-spinning fable that twists from finger-snapping retro fun to giallo-esque slasher fantasy as it dances through streets paved not with gold but with glitter, grit and splashes of stabby gore.

Thomasin McKenzie, who dazzled in Debra Granik’s Leave No Trace, is Eloise Turner, a wide-eyed, 60s-obsessed fashion student with a “gift” that leaves her haunted by Don’t Look Now-style visions of her dead mother. Having earned a place at the London College of Fashion, “Ellie” finds herself in a top-floor bedsit from whence she is nightly transported back into the capital’s swinging past through the ghostly mirrored-life of wannabe singer Sandie (Anya Taylor-Joy). In her dreams, Ellie (who says the 60s “speak to me”) both watches and becomes Sandie, aiming for the stars but falling to the streets as the meat-hook realities of London life hit home. Is Sandie a figment of Ellie’s overheated imagination – a wish-fulfilment turned into a nightmare - or has she somehow made a genuine connection across generations?

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Last Night in Soho review | Peter Bradshaw’s film of the week

Thomasin McKenzie, Anya Taylor-Joy and Matt Smith star in a horror-thriller that takes a trip to the sleazy heart of London’s past

A trip to the dark heart of London’s unswinging 60s is what’s on offer in this entertaining, if uneven, film from screenwriter Krysty Wilson-Cairns and director Edgar Wright, serving up a gorgeous soundtrack and some marvellous re-creations of sleazy Soho and the West End. There’s a tremendous image of the marquee for the 1965 Thunderball premiere in Coventry Street, and a show-stopping crane shot of Soho Square, apparently filmed from where the 20th Century Fox sign is now no longer to be found atop that company’s former premises.

Last Night in Soho is a doppelganger horror-thriller about a wide-eyed fashion student called Eloise (Thomasin McKenzie) who has brought her mum’s old Dansette record player and Cilla Black and Petula Clark LPs up to London from Cornwall on the train. Eloise has a fetish for the lost innocent glamour of the 60s but, moping all alone in her manky bedsit, finds herself stricken with neon phantasms. Like a ghost from the future, Eloise dreams her way through a portal in time back into 60s London clubland, where she witnesses Sandie (Anya Taylor-Joy), a blonde singer – exactly the kind of retro showbiz princess Eloise moonily idolises – who is being forced by her slick-haired manager Jack (Matt Smith) into having sex for money with creepy old men. Gradually, Eloise feels her identity merging with Sandie’s. Is she having a breakdown, or is this nightmare really happening?

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‘I eat greasy fried eggs at least once a week’: Daniel Craig on Bond, being buff and crying at British Gas ads

With his final turn as James Bond in No Time to Die filling cinemas, the actor takes questions from readers and fellow actors about the role, from being smacked around his nether regions to getting over his fear of heights

Most movie stars look tiny up close. Action lads especially. You can’t stop thinking: Vin Diesel is dinky! Statham’s a titch! Am I actually taller than Fassbender?

Daniel Craig is different. He doesn’t loom, but he is bulky. Stonehenge legs, whacking hands, just right for killing a man or mending a washing machine.

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No Time to Die review: Daniel Craig dispatches James Bond with panache, rage – and cuddles

The long-awaited 25th outing for Ian Fleming’s superspy is a weird and self-aware epic with audacious surprises up its sleeve

The standard bearer of British soft power is back, in a film yanked from cinemas back in the time of the toilet roll shortage, based on a literary character conceived when sugar and meat rationing was still in force, and now emerging in cinemas as Britons are fighting for petrol in the forecourts.

Bond, like Norma Desmond, is once again ready for his closeup – and Daniel Craig once again shows us his handsome-Shrek face and the lovable bat ears, flecked with the scars of yesterday’s punch-up, the lips as ever pursed in determination or disgust.

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‘A culture wars lightning rod’: exit Craig, enter a panic over woke Bond

No Time to Die brings a 007 era to a close amid fever-pitch speculation and changed sensibilities

“I always joke, how many Bond fans does it take to change a lightbulb?” said Ajay Chowdhury, spokesperson for the James Bond international fan club, the oldest established 007 fan organisation in the world. “One. But 10 to complain how much better the original was.”

As Daniel Craig’s incarnation of Bond draws to a close with the release of No Time to Die next week, rumours over who will replace him have reached fever pitch.

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Is James McAvoy’s improvised thriller the strangest Covid movie yet?

In My Son, the actor goes from scene to scene without a script trying to find his child, a bizarre new low for pandemic cinema

The pandemic has subjected us to a brave new world of cinematic experiences: a seance horror on Zoom, Anne Hathaway trying to rob Harrods, Naomi Watts taking phone calls in a forest, films that have shown either admirable ingenuity during an impossible period or that it’s really OK, nay better, at times to just put your tools down and bake banana bread instead.

Related: What does Covid mean for the future of pandemic movies?

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Lashana Lynch, the first female 007: ‘I never had a plan B’

Lashana Lynch, star of the new Bond movie, on ninja training, doing her own stunts and why now’s the time for an agent who’s a ‘real woman’

Lashana Lynch knew she was on a very short shortlist. She had taped a couple of auditions for Barbara Broccoli, the producer of the James Bond films since 1995. She met and read with Daniel Craig, who would be making his fifth and final appearance in No Time To Die, the 25th 007 adventure, a new release that you may have caught wind of by now. Then, finally, there was the stunt test, overseen by the Bond stunt and armoury teams (yes those are actual departments).

Is that like circuit training? “Deeper than that,” Lynch replies. “They hand you a bunch of weapons and they teach you a routine for a few seconds or a minute and then you basically have to copy the routine. So it was like, ‘OK, grab the gun! Shoot! Get down on your knees! Shoot! Roll on your back! Land on your feet! Shoot! Run, run, run! You’ve run out of ammo! Throw that away! Assemble this gun! Shoot!’ And that was the first out of five routines they taught me.”

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Wife of a Spy review – wartime mystery thriller of double and triple dealing

Kiyoshi Kurosawa’s old-fashioned drama delivers big performances and intriguing plot twists

Kiyoshi Kurosawa has probably long since got used to seeing the words “no relation” after his name; and this Japanese film-maker has in any case established his own distinctive, valuable presence in Asian cinema. Just two years ago, he released his complex drama To the Ends of the Earth, and now, working with Ryû Hamaguchi as co-writer, he has created this excellent wartime mystery thriller, which won the Silver Lion at last year’s Venice film festival: an old-fashioned drama replete with big performances and plot twists, double-cross and triple-cross. It’s like a three-quarter scale version of a Lean epic, a mid-level Zhivago or English Patient, but all the more intriguing for being relatively modest in scope.

Yû Aoi is outstanding as Satoko, a movie actor in 1940 Kobe in Japan, married to Yûsaku (Issey Takahashi), a prosperous international trader whose liberal politics and contact with foreigners makes him frowned upon in increasingly nationalist Japan. Yûsaku is visited by his old schoolfriend Taiji (Masahiro Higashide), who is now in police uniform, and caught up in the new fascist enthusiasm. A gulf between the two is opening up, despite Taiji having not got over his erstwhile crush on Satoko. Something sinister is in the air, and when Yûsaku comes back from a business trip to Japanese-controlled Manchuria, he is stunned by evidence of war crimes carried out there by Japan’s Kwantung army. Disgusted by his country, he plans to pass on details to the international community and chiefly the Americans: Satoko realises that this makes her the wife of a spy and the question of her own personal and political loyalties, and her husband’s, are a tense enigma to the very end.

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Last Night in Soho review – a gaudy romp that’s stupidly enjoyable

Edgar Wright’s time-travel film plays like a 60s pop song building towards a big climax

The nostalgia gauge is code-red on Last Night in Soho, a gaudy time-travel romp that whisks its modern-day heroine to a bygone London that probably never existed outside our fevered cultural imagination. It’s the era of Dusty Springfield and Biba; great music, cool threads. British writer-director Edgar Wright takes a grab-bag of 1960s ingredients, paints them up and makes them dance to his tune. His film is thoroughly silly and stupidly enjoyable. To misquote William Faulkner, the past isn’t dead, it’s propping up the bar at the Café de Paris.

“You like that retro style, huh?” a classmate remarks to Eloise Turner, a 21st-century design student – and you can bet your house she does. Eloise is up from deepest Cornwall to attend the London College of Fashion, still haunted by her mother’s suicide and struggling to find her feet in a city that’s not like the one she expected. Thomasin McKenzie plays her as your classic fairytale ingenue, guileless and wide-eyed, entirely out of her depth. She’s eyeing the future but her feet are stuck in the past.

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