When Zachary C noticed his audience were no longer beguiled by his best Zachary B smile, he arranged for his chargrilled-sweetcorn teeth to be replaced by a mouthful of ultraviolet-sensitive acrylic. Much to his delight, shop windows, car windscreens – even a puddle he awkwardly traversed on the way to the gig – all threw back at him a grin of searchlight intensity.

On arriving at the Kings Theatre, Portsmouth, he found Fountain – his backing vocalist wife – immersed in her own reflection in the dressing room mirror. He sat down beside her and grinned his new grin.

There must be a way out of their Hackney council estate life for brothers Rashid (James Floyd, very sharp on screen here) and Mo (non-professional Fady Elsayed), whose claustrophic home life lived (more or less) to traditional parental rules, contrasts with the energy of the streets outside, where drug-dealing is the most lucrative occupation and there’s always a hint of violence in the air.

Julien Temple’s directing career has been struck seemingly stone-dead twice. After working with Malcolm McLaren and the Sex Pistols on The Great Rock’n’Roll Swindle (1979), then again after the flop big-budget British jazz musical Absolute Beginners (1986), he was made a notorious cinema untouchable in the UK. Exiled in Hollywood, he fell back on his parallel life as a landmark pop video auteur.

The appearance of the Goldfinger-era Aston Martin DB5 in the new Skyfall is prompting cheers from audiences, and as Richard Hammond commented in this celebration of Bondmobiles down the ages, the Bond movies have been unique in their ability to turn cars into personalities. From the absurd to the spectacular, 007's transport has rarely been less than memorable, apart from a disastrously lacklustre flirtation with BMWs during the Pierce Brosnan era.

Chas & Dave’s run of hits up the mid Eighties made them an alternative to the gloss of Wham!, Duran Duran and Culture Club. They had three chart albums in 1983. But was there more to their “rockney” music than a first take suggests? Were they more than a cockney slanted, pie ‘n’ mash Wurzels? This programme, prompted by their 2009 retirement, made a valiant – heroic – attempt to elevate them to the level of the greats. Peter Doherty declared them “just like The Clash, The Smiths, Keats”. Obviously, he was thinking of “Snooker Loopy”.

As the title suggests, It Always Rains on Sunday wasn’t one of Ealing Studios' famous comedies, but a film suffused with resignation and realism. That’s not to say the 1947 classic is monotonous: how could it be when it’s a bickering domestic drama, a panoramic portrait of Bethnal Green street culture, and a thriller that draws on French poetic realism and American film noir? And given its provenance, it does at least include a wryly comic story about petty criminals.

Pop is a cruel mistress. Watching numerous BBC4 rockumentaries, such as the recent one on Squeeze, a pattern emerges. You make it, go through an imperial phase when you can do no wrong, then the honeymoon ends. The records are still great but the parade has moved on. This struck me again listening to the 10th studio album from Madness, which comes complete with a classy Peter Blake sleeve design.

It's Bond number 23, and if you were to suggest to me that it was the best of the lot, I might very well agree with you. This is a terrific James Bond movie, thoughtfully written, shrewdly cast and taking stock of everything that the 50-year-old franchise has come to mean. But even if it wasn't a Bond film, it would still be darn good.

Can a septuagenarian wear skinny trousers? It is not a question that I ask myself very often, but it was my first thought on seeing the frighteningly fit 73-year-old Ian Hunter stroll onstage at the Shepherds Bush Empire last night. Life in America clearly suits the Shropshire-born former frontman of Mott the Hoople, as he led a band young enough to be his children through a storming, age-defying 110-minute set.

The latest film from innovative firebrand Sally Potter is something of a surprise given her back catalogue. Her last feature, Rage (2009) premiered on mobile phones and the internet and comprised a series of to-the-camera monologues; the one before that Yes (2004) was told in iambic pentameter; and, she is of course the maestro behind gender-bending masterpiece Orlando (1992).