Michael Wood

George Clooney’s The Ides of March is a slow and modest political drama that often feels like a faster and better thriller. There’s no crime, just misbehaviour and deals and dangerous knowledge, but it generates quite a bit of the suspense and discomfort we associate with crime movies. We don’t want the truth of the story to be true, and we wish the characters would not act...

I remember Morelia, in Mexico, from visits long ago: a fine old colonial city which seemed to have a crumbling convent or modest palace on almost every corner. It went through a bad patch in the early years of this century, even before narcoviolence made life difficult there as in so many parts of Mexico. But the city cleaned up its streets, activated the tourist trade, and thanks to much...

Nothing in the new film version of Tinker Tailor Soldier Spy is quite as compelling as the posters for it. Well, there are compelling moments in the movie but they keep losing their allure by reuse; they just go on telling us there is a mystery while the posters picture it. The posters show Gary Oldman as George Smiley – or rather they show him as Alec Guinness made a little taller,...

Julian Barnes specialises in Englishness the way some doctors specialise in broken bones or damaged nerves. Like many actual English people, he’s not a chronic sufferer from the complaint, which in any case is a matter more of temperament than passport. But he is endlessly fascinated by it, and no one knows the dark, quiet corners of its pathology better than he does. We can think for a...

That two films about human entanglements with chimpanzees, a feature-length documentary and a fiction feature, should be showing in London at the same time is presumably an accident of distribution. That the two works, James Marsh’s Project Nim and Rupert Wyatt’s Rise of the Planet of the Apes, should resemble each other so closely begins to look like a message or a clue, a...