Film of the Week: '28 Years Later' - Bold, brilliant and Brexity
When we left the 28 (pick your time span) Later franchise in 2007, the protocol-breaching actions of two misguided siblings led to the carpetbombing of London's no-longer-safe zone.
Kids... What can you do?
28 Weeks Later, Juan Carlos Fresnadillo's surprisingly effective follow up to director Danny Boyle and screenwriter Alex Garland's 2002 zombie genre revitalizing horror experience, ended with a devilish final stinger that had audiences saying 'Et, merde' at the sight of the Rage Virus-infected emerging from a Paris Métro.
18 years later (in the real world) and 28 years later (in the Rage-infested world), Boyle and Garland are back, and they're not keen to simply rest on their laurels.
We quickly learn that the terrifying pandemic has been beaten back from mainland Europe (the French presumably shrugged off the infestation and dusted off the guillotines) and that Rage is contained to Blighty.
They really can't catch a break... And in many ways, that's the point.
While the infected are still out and about, there exists a safe space – an island within an island. Its name is Lindisfarne, aka: Holy Island, and it's in this isolationist community, only connected to the UK mainland via a causeway crossable at low tide, where we meet 12-year-old Spike (newcomer Alfie Williams). His scavenger father Jamie (Aaron Taylor-Johnson) is keen to make a man out of him and so decides to embark on a coming-of-age ritual of sorts: take him inland for the first time in search of his first kill.
As Spike's bedbound and mysteriously sick mother Isla (Jodie Comer) foretells in a fit of expletives, it's a really dumb idea...
28 Years Later doesn't look or feel like 28 Days Later. Or 28 Weeks Later, for that matter. So those wanting more of the same may end up disappointed.
Ditching the lo-fi, punk rawness of the first brush with sprinting nightmare fuel and the equally lean-and-mean feel of the second, 28 Years Later is crisper and more expensive-looking. While that may frustrate some audiences, what's clear is that Boyle and Garland didn't come back to simply cash in and play it safe.
It couldn't be any other way. 28 Days Later breathed new life into a horror mainstay by having the sprinting Rage-infected replacing traditional reanimated corpses. More than two decades later, zombies have invaded the screens and become ubiquitous – to the point of exhaustion. From the big screen offerings of the Rec franchise, Shaun of the Dead, Zombieland and Planet Terror (to mention only the high points) to the zeitgeist-capturing small screen hits The Walking Dead and The Last Of Us, civilisation-threatening outbreaks featuring ravenous walkers, crawlers and biters have become mainstream.
The only way was forward. And a lot has happened since 2007's 28 Weeks Later – namely Brexit and a worldwide pandemic. Both of these resonate in 28 Years Later, especially the self-inflicted isolationist wound. The nationalist and seclusionist subtext becomes text: Saint George's Cross flying above the community; the banner reading 'Fail we may but go we must'; the sea patrol keeping the infection contained to the UK; the 'us' and 'them'-ness of looking backwards to a past of the England that once was... It all makes for a simple but effective Brexit analogy.
It's not particularly subtle; but then again, no allegory-infused zombie movie ever was. And neither was Brexit.
The obviousness of certain thematical strands is countered by some far more surprising choices, like the teasing-and-ditching of The Wicker Man motifs and the Summerisle setting in favour of exploring the evolution of the infected.
Of course, the introduction of various kinds of berserkers ('slow-lows' or the terrifying 'Alphas' with Predator penchants for spine-yanking) will lead to inescapable comparisons with The Last Of Us. But the script does enough to explore the potential of its ideas without toppling into déjà vu – particularly when one initially grating yet radical element is introduced...
Then there are unpredictably profound moments in the second half of the film, culminating in the Memento Mori / Memento Amori dichotomy, which is brilliantly delivered by the show's last act MVP Dr. Kelson, played to perfection by Ralph Fiennes. His scenes with Spike have an emotional resonance that elevates the material and make it hard to fathom how Alfie Williams is so accomplished for a first-time actor.
We'll hopefully be seeing both Boy Meets World and the iodine-covered Colonel Kurtz again soon, as 28 Years Later was filmed back-to-back with the first sequel in a planned new trilogy, titled 28 Years Later: The Bone Temple, which is slated to hit theaters in January 2026. Let's pray Young Fathers return too, as their terrific soundtrack is not worth ignoring.
From the Teletubbies opening to a heroically bizarre finale which scoffers will likely liken to The Village, via a three-act structure that makes a young hero's odyssey evolve from a father-son adventure to a mother-son rescue mission to a young father figure spreading his wings, 28 Years Later's strange verve is exhilarating.
While there are some pacing issues, as well as surplus to requirement CGI moments involving swarms of birds and deer, Boyle and Garland have truly outdone themselves. Without skimping on the edge-of-your-seat tension and gruesome viscera that made the first two instalments so pant-browningly effective, their belated sequel is a radical revival that eschews the obvious at every turn.
It may not satisfy everyone, but give us daring over safe any day / week / year of the Rage pandemic.
28 Years Later is out in cinemas now.
"Wake up, wake up" is the chorus of the Felix Flavour music that Jeny BSG choreographed for the Dance4Refugees campaign on Instagram and at the Bozar arts venue in Brussels.
It's also the call to action for people everywhere to speak out and show their support for refugees.
"Everyone needs to wake up. It's time to talk about it, it's time to help, it's time to react. We can't stay silent, we have to speak out for the oppressed and that's what I'm doing," she told Euronews.
Jenybsg (@jenybsg)'in paylaştığı bir gönderi
The social media campaign challenges people to post their versions of the choreography on Instagram and donate funds. It is aimed primarily at young people, who Jeny works with at her dance school and when she travels abroad.
'I try to reach out to the younger generation because for me they are the change, they can make a difference in this world. Dance was, for me, a great way to bring attention and change the narrative, to celebrate the strength, potential and resilience of refugees,' Jeny said.
The dancer and choreographer was born in Belgium, where her family sought refuge from the decades-long conflict in the Democratic Republic of Congo (DRC). A background that left its mark on the artist and led her to activism in collaboration with the UN High Commissioner for Refugees (UNHCR).
"My family fled violence in the 1990s. My elder brothers spent time in a refugee camp. My mother and my father have experienced displacement, violence, fear, struggle", she recalls.
More than 6.9 million people are internally displaced across the DRC, with an additional one million refugees and asylum-seekers in neighbouring countries, according to the UNHCR.
This 'legacy' brought additional self-imposed responsibilities for Jeny, who set herself the task of 'not failing' and being a voice for the Congolese diaspora: 'Today I am living proof that the origin of refugees does not define the limits of refugees, but rather their strengths.'
Jeny uses her platform to promote marginalized voices, having founded the AfroHouseBelgium, a Brussels-based dance school. She's also been working with the UNHCR since last year to amplify the stories of those forced to flee.
"Dance is universal and the refugee cause today is also universal. We know that refugees come from all around the world: Ukraine, Afghanistan, Syria, DRC and other countries. But they are not only statistics or numbers. Their lives matter, and they are like us", she says.
The UN says there are currently 123 million forcibly displaced people worldwide, twice more than a decade ago. Almost 37 million of them are refugees. The organisation warns that recent drastic cuts in humanitarian aid funding are putting their lives at risk.
Funding for the agency is now roughly at the same level as a decade ago, said Filippo Grandi, UN High Commissioner for Refugees, at the launch of the annual Global Trends Report on 12 June.
'We are living in a time of intense volatility in international relations, with modern warfare creating a fragile, harrowing landscape marked by acute human suffering", Grandi highlighted.
The report found that, contrary to widespread perceptions in wealthier regions, 67 per cent of refugees stay in neighbouring countries, with low and middle-income countries hosting 73 per cent of the world's refugees.
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Euronews
6 hours ago
- Euronews
Film of the Week: '28 Years Later' - Bold, brilliant and Brexity
When we left the 28 (pick your time span) Later franchise in 2007, the protocol-breaching actions of two misguided siblings led to the carpetbombing of London's no-longer-safe zone. Kids... What can you do? 28 Weeks Later, Juan Carlos Fresnadillo's surprisingly effective follow up to director Danny Boyle and screenwriter Alex Garland's 2002 zombie genre revitalizing horror experience, ended with a devilish final stinger that had audiences saying 'Et, merde' at the sight of the Rage Virus-infected emerging from a Paris Métro. 18 years later (in the real world) and 28 years later (in the Rage-infested world), Boyle and Garland are back, and they're not keen to simply rest on their laurels. We quickly learn that the terrifying pandemic has been beaten back from mainland Europe (the French presumably shrugged off the infestation and dusted off the guillotines) and that Rage is contained to Blighty. They really can't catch a break... And in many ways, that's the point. While the infected are still out and about, there exists a safe space – an island within an island. Its name is Lindisfarne, aka: Holy Island, and it's in this isolationist community, only connected to the UK mainland via a causeway crossable at low tide, where we meet 12-year-old Spike (newcomer Alfie Williams). His scavenger father Jamie (Aaron Taylor-Johnson) is keen to make a man out of him and so decides to embark on a coming-of-age ritual of sorts: take him inland for the first time in search of his first kill. As Spike's bedbound and mysteriously sick mother Isla (Jodie Comer) foretells in a fit of expletives, it's a really dumb idea... 28 Years Later doesn't look or feel like 28 Days Later. Or 28 Weeks Later, for that matter. So those wanting more of the same may end up disappointed. Ditching the lo-fi, punk rawness of the first brush with sprinting nightmare fuel and the equally lean-and-mean feel of the second, 28 Years Later is crisper and more expensive-looking. While that may frustrate some audiences, what's clear is that Boyle and Garland didn't come back to simply cash in and play it safe. It couldn't be any other way. 28 Days Later breathed new life into a horror mainstay by having the sprinting Rage-infected replacing traditional reanimated corpses. More than two decades later, zombies have invaded the screens and become ubiquitous – to the point of exhaustion. From the big screen offerings of the Rec franchise, Shaun of the Dead, Zombieland and Planet Terror (to mention only the high points) to the zeitgeist-capturing small screen hits The Walking Dead and The Last Of Us, civilisation-threatening outbreaks featuring ravenous walkers, crawlers and biters have become mainstream. The only way was forward. And a lot has happened since 2007's 28 Weeks Later – namely Brexit and a worldwide pandemic. Both of these resonate in 28 Years Later, especially the self-inflicted isolationist wound. The nationalist and seclusionist subtext becomes text: Saint George's Cross flying above the community; the banner reading 'Fail we may but go we must'; the sea patrol keeping the infection contained to the UK; the 'us' and 'them'-ness of looking backwards to a past of the England that once was... It all makes for a simple but effective Brexit analogy. It's not particularly subtle; but then again, no allegory-infused zombie movie ever was. And neither was Brexit. The obviousness of certain thematical strands is countered by some far more surprising choices, like the teasing-and-ditching of The Wicker Man motifs and the Summerisle setting in favour of exploring the evolution of the infected. Of course, the introduction of various kinds of berserkers ('slow-lows' or the terrifying 'Alphas' with Predator penchants for spine-yanking) will lead to inescapable comparisons with The Last Of Us. But the script does enough to explore the potential of its ideas without toppling into déjà vu – particularly when one initially grating yet radical element is introduced... Then there are unpredictably profound moments in the second half of the film, culminating in the Memento Mori / Memento Amori dichotomy, which is brilliantly delivered by the show's last act MVP Dr. Kelson, played to perfection by Ralph Fiennes. His scenes with Spike have an emotional resonance that elevates the material and make it hard to fathom how Alfie Williams is so accomplished for a first-time actor. We'll hopefully be seeing both Boy Meets World and the iodine-covered Colonel Kurtz again soon, as 28 Years Later was filmed back-to-back with the first sequel in a planned new trilogy, titled 28 Years Later: The Bone Temple, which is slated to hit theaters in January 2026. Let's pray Young Fathers return too, as their terrific soundtrack is not worth ignoring. From the Teletubbies opening to a heroically bizarre finale which scoffers will likely liken to The Village, via a three-act structure that makes a young hero's odyssey evolve from a father-son adventure to a mother-son rescue mission to a young father figure spreading his wings, 28 Years Later's strange verve is exhilarating. While there are some pacing issues, as well as surplus to requirement CGI moments involving swarms of birds and deer, Boyle and Garland have truly outdone themselves. Without skimping on the edge-of-your-seat tension and gruesome viscera that made the first two instalments so pant-browningly effective, their belated sequel is a radical revival that eschews the obvious at every turn. It may not satisfy everyone, but give us daring over safe any day / week / year of the Rage pandemic. 28 Years Later is out in cinemas now. "Wake up, wake up" is the chorus of the Felix Flavour music that Jeny BSG choreographed for the Dance4Refugees campaign on Instagram and at the Bozar arts venue in Brussels. It's also the call to action for people everywhere to speak out and show their support for refugees. "Everyone needs to wake up. It's time to talk about it, it's time to help, it's time to react. We can't stay silent, we have to speak out for the oppressed and that's what I'm doing," she told Euronews. Jenybsg (@jenybsg)'in paylaştığı bir gönderi The social media campaign challenges people to post their versions of the choreography on Instagram and donate funds. It is aimed primarily at young people, who Jeny works with at her dance school and when she travels abroad. 'I try to reach out to the younger generation because for me they are the change, they can make a difference in this world. Dance was, for me, a great way to bring attention and change the narrative, to celebrate the strength, potential and resilience of refugees,' Jeny said. The dancer and choreographer was born in Belgium, where her family sought refuge from the decades-long conflict in the Democratic Republic of Congo (DRC). A background that left its mark on the artist and led her to activism in collaboration with the UN High Commissioner for Refugees (UNHCR). "My family fled violence in the 1990s. My elder brothers spent time in a refugee camp. My mother and my father have experienced displacement, violence, fear, struggle", she recalls. More than 6.9 million people are internally displaced across the DRC, with an additional one million refugees and asylum-seekers in neighbouring countries, according to the UNHCR. This 'legacy' brought additional self-imposed responsibilities for Jeny, who set herself the task of 'not failing' and being a voice for the Congolese diaspora: 'Today I am living proof that the origin of refugees does not define the limits of refugees, but rather their strengths.' Jeny uses her platform to promote marginalized voices, having founded the AfroHouseBelgium, a Brussels-based dance school. She's also been working with the UNHCR since last year to amplify the stories of those forced to flee. "Dance is universal and the refugee cause today is also universal. We know that refugees come from all around the world: Ukraine, Afghanistan, Syria, DRC and other countries. But they are not only statistics or numbers. Their lives matter, and they are like us", she says. The UN says there are currently 123 million forcibly displaced people worldwide, twice more than a decade ago. Almost 37 million of them are refugees. The organisation warns that recent drastic cuts in humanitarian aid funding are putting their lives at risk. Funding for the agency is now roughly at the same level as a decade ago, said Filippo Grandi, UN High Commissioner for Refugees, at the launch of the annual Global Trends Report on 12 June. 'We are living in a time of intense volatility in international relations, with modern warfare creating a fragile, harrowing landscape marked by acute human suffering", Grandi highlighted. The report found that, contrary to widespread perceptions in wealthier regions, 67 per cent of refugees stay in neighbouring countries, with low and middle-income countries hosting 73 per cent of the world's refugees.
Euronews
4 days ago
- Euronews
Oops! Couple break crystal-covered Van Gogh chair at Italian museum
A glittering crystal-covered artwork at a museum in Verona was left badly damaged after a couple ignored warnings and climbed onto it to take photos. Security footage from the Palazzo Maffei museum shows a man and woman taking turns posing in front of the 'Van Gogh' chair, a fragile sculpture created by Italian artist Nicola Bolla and covered in hundreds of Swarovski crystals. While pretending to sit on the piece, the man loses his balance and falls, collapsing on to and destroying the delicate chair beneath him. The incident, which occurred in April but was only made public by the museum this month, left the artwork with broken legs and a crushed seat. Despite the damage, the couple quickly fled the scene without notifying any staff. The museum has since reported the incident to the police, though the couple remain unidentified. 'This is a nightmare for any museum,' said Palazzo Maffei director Vanessa Carlon. 'Of course it was an accident, but these two people left without speaking to us - that isn't an accident.' The 'Van Gogh' chair, named in tribute to Vincent van Gogh's iconic 1888 painting of a simple wooden seat, is deceptively fragile. Although it appears sturdy, the sculpture is constructed from a hollow frame held together with foil - and clearly marked with signs warning visitors not to touch. The sun is shining, birds are chirping, and rabid zombies are fast approaching as we welcome you back for a fresh new week of cultural highlights. Indeed, Danny Boyle's 28 Years Later is stealing the limelight as one of this year's most hotly-anticipated cinema releases. All shot on an iPhone, it follows a group of American survivors navigating what remains of the British Isles decimated by a deadly rage virus. But if that's not dark enough for you - head to London's Prince Charles Cinema for 'Bleak Week: Cinema of Despair'. A programme of soul-crushingly sad and scary cinema, it's perfect for summer Scrooges - and an incredible opportunity to discover some magical, malaise-inducing masterpieces. But it's not all doom and gloom here! There's also a new album release from American pop rockers Haim, more corseted capers in AppleTV+'s The Buccaneers, and a bumper selection of exhibitions that includes the captivating collages of Spanish filmmaker Isabel Coixet. As always, be sure to check out our latest cultural catch-up for a more in-depth discussion on the latest releases and water cooler topics. This time, we're focusing on the recent news that lauded British mini-series Adolescence will be shown in schools in France. Until next time, here are this week's highlights. Isabel Coixet. Collages. Learning in disobedience Where: Museo Nacional Thyssen-Bornemisza (Madrid, Spain) When: Until 14 September 2025 Isabel Coixet is one of Spain's most prolific and revered contemporary filmmakers, having won a record-setting nine Goya awards. From character focused feature-length films to documentaries dealing with societal issues, her works are diverse and deft at revealing hidden worlds. Now, through a showcase of 50 of Coixet's collages, we get an insight into her creative processes - paper and photographs conjuring compellingly fragmented narratives. Tattoo. Stories of the Mediterranean (Tatouage. Histoires de la Méditerranée) Where: Musées de Marseille (Marseille, France) When: Until 28 September 2025 From its earliest origins in Ancient Egypt, Syria and the Cyclades, to its uptake as a widespread contemporary craze, the Musées de Marseille reveals the fascinating history and evolution of tattooing across the Mediterranean. Whether symbolic of identity, religion, status or culture, tattoos remain constant in their reflection of our values - and the social environments that shape our aesthetic ideas. Locals will find the focus on some of Marseille's tattoo influences from the Phocaean city especially interesting. Yoshitomo Nara Where: Hayward Gallery (London, UK) When: Until 31 August 2025 Bug-eyed girls rest on clouds, wear bunny costumes and gaze at tiny houses on fire in the colourful works of Japanese artist Yoshitomo Nara. Ever since his breakthrough in the late 90s, people have been drawn to his whimsical aesthetics, brimming with the mischief, mayhem and malaise of childhood. This latest exhibition is an expanded version of one that recently toured the Guggenheim, Bilbao and Museum Frieder Burda, including additional new paintings and early sculptural works. Barbara Kruger Where: Guggenheim Museum (Bilbao, Spain) When: 19 June- 9 November 2025 Following last week's recommendation of 'Tacit Tongues', here's another exhibition that centres around the power of language. Created by pioneering conceptual artist Barbara Kruger, her bold visual graphics often riff on advertisements - and have captivated viewers for more than five decades. Here, spaces filled with monochromatic words feel like tumbling into the pages of a print magazine, encouraging us to reinterpret perceptions around consumerism, politics, identity and sexuality. 28 Years Later Where: European cinemas When: 20 June Few cinematic scenes have haunted the collective consciousness like Cillian Murphy wandering the empty streets of London in 2002's 28 Days Later. A sequel followed in 2007 - but despite the speed at which the zombies run, it's taken until now for them to reach us again. Set almost three decades after a biological weapons laboratory leaked a deadly rage virus, 28 Years Later follows a group of American survivors as they navigate what's left of the British Isles. Starring Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes, everything was shot on iPhone 15 for a contemporary take on the original's raw shaky cam aesthetic. The film also serves as the start of a new trilogy in the franchise, with Nia DaCosta's 28 Years Later: The Bone Temple due for release in 2026. Bleak Week: Cinema of Despair A post shared by The Prince Charles Cinema (@princecharlescinema) Where: Prince Charles Cinema (London, UK) When: 15 - 21 June 2025 If, like Lana Del Rey, you've got that summertime sadness - why not lean into it with some deeply depressing cinema? 'Bleak Week: Cinema of Despair' was originally founded post-pandemic as an LA-based film festival by American Cinematheque, spotlighting the deliciously dismal corners of movie history. It proved so popular that the programme's now on tour at London's legendary Prince Charles Cinema - already known for a repertory catalogue of cult classics. From Charlotte Wells' heart-searing father daughter portrait Aftersun, to the childhood-scarring rabbits of Watership Down, it's a line-up that's as powerfully affecting as it is emotionally damaging. The Buccaneers (Season 2) Where: Apple TV+ When: 18 June If steamy period dramas and corseted girl power are your thing, settle in for a new series of The Buccaneers. Based on Edith Wharton's final novel, it follows a group of wealthy American women that embark for London in search of a husband - cue drama and dilemmas aplenty. We're set to pick up right where we left off in 2023, with love triangles, divorces and mysterious true identities hanging in the balance. Leighton Meester of Gossip Girl fame joins cast regulars Mia Threapleton, Christina Hendricks and Kristine Froseth. Haim: I Quit When: 20 June Sisters Este, Danielle and Alana reunite for their long-awaited fourth album - and first since 2020's 'Women in Music Pt. III'. Often likened to Fleetwood Mac, the band's peppy soft rock has always felt like an effervescent dose of hubris - the perfect vibe for a dedicated breakup album like 'I Quit'. Written over three years, it meditates on the breakdown of lead singer Danielle's long term relationship and themes of reclaiming your sense of self. While we can't yet comment on the rest of the album, its single 'Relationships' is damn addictive.
Euronews
25-12-2024
- Euronews
James Bond vs Amazon: When will we learn the identity of the new 007 actor?
The year isn't over yet, but we've published our favourite films of 2024 already and it's not too early to start thinking about what 2025 has in store for us. We have Danny Boyle's 28 Years Later to look forward to, as well as Bong Joon-ho 's Mickey 17, Guillermo del Toro 's Frankenstein and the new Yorgos Lanthimos film, Bugonia. But one question remains: When are we going to find out the identity of the next actor to play James Bond? Speculation has been running wild ever since Daniel Craig hung up the tuxedo after 2021's No Time To Die, and not a week seems to go by without hot takes and predictions on the casting of the next 007. According to several sources, Bond producer Barbara Broccoli - who is the steward of EON Productions (the production company behind the Bond series) alongside her half-brother Michael G. Wilson - is said to be relaxed about casting a person of colour or a gay actor, but much less comfortable with a female or non-British Bond. We also know that Bond 26 will be a reboot, following the death of James Bond in Craig's final adventure. There was no spoiler warning there, because chances are if you clicked on this story, you've either seen the film or know the outcome. And for those of you who just gasped, it's been nearly four years - No Time To Sulk. As we reported, the big name circling the role is Aaron Taylor-Johnson, who reportedly screen-tested for the role. However, as is usually the case, the second the press get a whiff of something and a name preemptively emerges for Bond, you can be sure it won't be that actor. Many are still hoping that we will finally learn who plays the seventh 007 in 2025. Bad news though: there's trouble afoot. According to a new report from The Wall Street Journal, tension is brewing between Barbara Broccoli and Amazon, who bought MGM in 2022 - and with it the rights to the James Bond franchise. The report claims that Broccoli, who has creative control over the character and the story, believes she 'can hold Bond hostage from Amazon for as long as she sees fit' and that she believes Amazon is not a good fit for Bond. 'Don't have temporary people make permanent decisions,' she reportedly said, as well as this more colourful nugget: 'These people are fucking idiots.' Her main objection is that Amazon has been interested in pursuing different routes for Bond, suggesting tie-ins and spin-offs of the original films, including TV shows. The fact that Amazon execs also reportedly referred to Bond as 'content' in one meeting did not go down well. It is a horrible word, to be fair. Per the report in WSJ, Broccoli 'has told friends she doesn't trust algorithm-centric Amazon with a character she helped to mythologize through big-screen storytelling and gut instinct.' It also appears that Amazon isn't too keen when it comes to casting a relatively unknown actor for the part of Bond - something that Broccoli did to great success with Daniel Craig. If the report is to be believed, the relationship between Broccoli and Amazon 'has all but collapsed' and 'the franchise hasn't moved any closer to its next installment' in three years. So, the 26th installment in the long-running franchise sounds like it's on ice for the time being and unless things warm up between the two parties, there's no use holding your breath for an official announcement regarding casting any time soon. It's not too much to bear for Bond fans, as delays are not uncommon for the franchise. For instance, the hiatus between Timothy Dalton's final outing Licence to Kill and Pierce Brosnan's first adventure GoldenEye lasted six years – the same as the gap between Craig's Spectre and No Time To Die. But these recent reports aren't particularly encouraging either.
