‘I knew I needed help. I knew it was over’: Anthony Hopkins on alcoholism, anger, Academy Awards – and 50 years of sobriety

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As the actor approaches his 90th year and publishes an autobiography, he reflects on his early years on stage, being inspired by Laurence Olivier, becoming a Hollywood star and conquering his demons ‘What’s the weather like over there?” asks Anthony Hopkins as soon as our video call begins. He may have lived in California for decades but some Welshness remains, in his distinctive, mellifluous voice – perhaps a little hoarser than it once was – and his preoccupation with the climate. It’s a dark evening in London but a bright, sunny morning in Los Angeles, and Hopkins is equally bright in demeanour and attire, sporting a turquoise and green shirt. “I came here 50 years ago. Somebody said: ‘Are you selling out?’ I said: ‘No, I just like the climate and to get a suntan.’ But I like Los Angeles. I’ve had a great life here.” It hasn’t been all that great recently, actually. In January this year, Hopkins’ house in Pacific Palisades was destroyed by the wildfires. “It was a bit of a calami...
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Leave the World Behind review – Julia Roberts and Ethan Hawke’s apocalypto-paranoid thriller

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Roberts and Hawke’s weekend getaway starts to go wrong when two mysterious strangers appear at the door. Then things get weirder

Julia Roberts, Mahershala Ali and Ethan Hawke star in this glossy, Shyamalan-level-10 apocalypto-paranoid conspiracy thriller, adapted from the 2020 bestseller by Rumaan Alam. It’s an example of a growing tendency in the movies: baggy, lengthy, episodic pictures which are starting to split the difference between feature film items and streaming TV. Amat Escalante’s Mexican thriller Lost in the Night is, I think, another example of this tendency: films that go on for a while and, like a shaggy-dog story, leave things open for the possibility of getting recommissioned for season two. (Ridley Scott’s Napoleon epic for Apple TV also straddles film and TV, with extra content for the small screen iteration – although, admittedly, he can hardly be accused of leaving things open at the end.)

Roberts and Hawke play Amanda and Clay, well-off Brooklynites with two teen children; she’s a cynical ad exec, he’s a laidback humanities college professor. On a whim, they decide to take a luxurious weekend break in a luxury Airbnb mansion outside the city. But things get weird; there are storms outside, problems with the phone signal and the wifi and they witness something very disturbing at the beach. That evening, two strangers show up at the door – an elegant sophisticated man and his college age daughter, very well played by Mahershala Ali and Myha’la Herrold – with a very plausible explanation as to who they are and why Amanda and Clay should let them in. Things go terribly wrong.

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