It’s hard to keep a franchise that can almost count its decades on one whole hand fresh and relevant, but Daniel Craig’s time as 007 has done just that. Starting with 2006’s magnificent Casino Royale, we got a grittier Bond, a man with a bruised psychology that was interested in more than just how many bad guys he could callously kill and sexy ladies he could securely seduce. It was a franchise that modeled itself more after the Jason Bourne films, and it worked tremendously, giving the 40-year-old franchise new relevancy for modern audiences that have grown up on the Bond canon. 2012’s Skyfall was the biggest bond hit of all time, grossing over a billion dollars worldwide. It was going to be a hard act to follow. Spectre, for all intents and purposes Craig’s franchise farewell, is a lousy swan song. It’s the weakest of the Daniel Craig Bond era but that claim would require me to rewatch 2008’s Quantum of Solace; however, just from memory, Solace had more engaging moments, stunts, and even a better theme song, so I’ll stick with my proclamation: Spectre is the most mediocre Craig Bond.
James Bond (Daniel Craig) is hunting the organization responsible for the deaths of those closest to him, namely Vesper (Eva Green) and the prior M (Judi Dench). His path has lead to the nefarious SPECTRE terrorist organization and its mysterious and feared leader (Christoph Waltz), who has his own personal reasons for causing Bond misery.
The movie’s biggest mistake was its insistence that the audience will want to know how all the events tie together as a whole. Due to this position, it makes Spectre the awkward retcon exercise it is, trying to provide winks and nods to past Craig Bond outings while saying, “Oh yeah, all that evil stuff, well this guy is The Guy behind it all.” Adding an extra layer of a criminal conspiracy doesn’t somehow make those events more interesting or provide the need for conclusion; it piggybacks off the earlier movies and pretends it has shown its own work. Spectre thinks the accumulated plot events and deaths of three movies is the same as properly setting up a story and its villains, and that’s just not the case. The other problem with trying to connect the dots to three previous movies is that Spectre has even fewer chances to stand on its own merits, which are admittedly fewer. Lea Seydoux (Blue is the Warmest Color) is a bland addition as a Bond Girl, and oh does she pale in comparison to the capable and indispensable Rebecca Ferguson in the latest Mission: Impossible sequel. Their relationship is never as interesting or as properly developed as the film thinks. The stakes of the movie (surveillance abuse) feel too abstract and low-key, or at least poorly articulated, to feel important. If you’re going to turn the focus of the narrative on offering an apparent climax for multiple movies, it better deliver and feel like it was worth the effort, and Spectre just does not feel like that.
The other thing hat just doesn’t work is the bad guy, which is puzzling because Waltz was born to play a James Bond villain. The Craig Bonds have followed the more stripped down route even in their villains, once the parlance of the most colorful megalomaniacs that action cinema had to offer (and there’s also the eccentric henchmen). There’s a delayed buildup to revealing Waltz (Django Unchained) where other characters will talk in hushed whispers about just how dangerous and powerful the man in charge of Spectre is. A nagging problem is that we’re too often told these things without being shown them. A similar problem affected Skyfall where we spent half the film being told how dangerous and skillful its villain was, but at least Silva (Javier Bardem) lived up to the hype when he arrived, at least for a little while before degenerating into your standard psychopath. Waltz has exactly two sequences before the final showdown. That’s it, and for one of them he’s almost entirely in shadow at the end of a large table of shadowy figures. He’s not given a strong angle to play with his villain (spoilers) and his ultimate personal connection to our 007 agent feels far too forced and slight. Just like the rest of its hasty retconing, Waltz’s connection is meant to feel significant but its not dealt in any way like it should be significant. It’s almost a casual toss-off. It’s even worse when Waltz calls Bond his “cuckoo,” meant to be dark but is just really silly. Waltz is completely wasted in what is little more than a perturbed middle manager role. His climactic showdown with Bond feels impractical even for Bond movies. His downfall is even worse and made me laugh out loud how easily it all comes crashing down. If the emphasis of your movie is how the Big Bad is responsible for all the previous misfortune, then you better make sure the character was worth the wait.
Sam Mendes (Skyfall, American Beauty) returned to the director’s chair and stages some nicely photographed sequences, but with the exception of a stirring opening sequence, the action of Spectre is quite tame and forgettable. The opening in Mexico City during the Day of the Dead celebrations has an interesting atmosphere and an ongoing tracking shot to pull us in from the start. From there, Bond has to take out a high-profile Spectre baddie and their struggle eventually carries over into a helicopter, both men punching wildly and trying to hold on for dear life as the copter whizzes upside down repeatedly. It’s a good set piece with some fun and unique aspects, like Bond escaping the crumbling wall of a building, but it’s the sheer thrill of watching the battle inside the helicopter that makes this opener a doozey. After that, I was sad to discover that nothing could measure up. Skyfall also peaked with its opening action caper but it still held my interest as it barreled toward its conclusion. I was resisting the urge to go to sleep with Spectre. An air chase over the trails of a mountain is interesting but doesn’t evolve, which is something vital to all exciting action sequences. If the action is static, it’s most often not going to be good after the initial rush wears off. There’s a decent car chase late at night in Rome but I got to think why Bond would be fleeing just one henchman even if that paid muscle were played by physical brute David Bautista (Guardians of the Galaxy). The film’s budget was reportedly $245 million and I just do not know where that money went.
The Craig era will be known for revitalizing the franchise, saving it from its self-parody excesses that were swallowing the series alive. We were watching Craig’s version of 007 become the hardened, quip-heavy, flippant killing machine and womanizer, except that he doesn’t feel like that character by the end of Spectre. If the course of four films was to bring the Bond we know into fruition, then it didn’t quite work, and that personally thrills me. Craig’s character is far more interesting, haunted by the people he couldn’t save, than the action hero Bond staple. However, while Craig’s character maintained a trajectory that staid true to its aim of bringing more depth to its central hero, the series was starting to hew closer to the classic Bond mode of empty bombast, and Spectre is the final proof of this. It’s getting closer to the crazy villains and spy hijinks of old territory. It’s a story that wants climax and resolution but cannot supply it without relying heavily upon the three previous movies to supply the weight this one lacks. It’s a rather lackluster farewell for Craig, an actor who deserved better. Judging by his interviews, I think he’s just happy to be out. He’ll be missed. Spectre will not. Now bring on Idris Elba please!
Nate’s Grade: C+
The James Bond franchise, one of the most enduring of all time, has been open to criticism since it came back in a big way with 2006’s Casino Royale. Fans have started to whine that the Bond movies are no longer the Bond they remember, and they’re probably right. In 2006, the producers decided to go back, reboot the series, and introduce a more grounded Bond, a man with more demons than quips. This backlash to a successful reboot seems so funny to me, especially considering the dubious nature of these older Bond movies. Can we all just take a moment and objectively admit that half of the Bond movies are absolutely awful? Skyfall is the third in the new Daniel Craig Bond era, and it’s received universally ecstatic reviews. It’s a fine work, surprising and satisfying in equal measure, but it’s no Casino Royale for me, but what can be?
James Bond (Craig) is recovering from a serious injury after a fellow agent, Eve (Naomie Harris), accidentally shoots Agent 007. In her defense, he was atop a speeding train battling a baddie and her boss, M (Judi Dench), ordered her to fire. In the weeks that follow, Bond is struggling to adapt. He’s lost a step physically and now has to deal with his own doubts. Naturally, this isn’t the most opportune time for crises of faith. MI6 is under attack by one of their own, a former agent turned powerful techno-terrorist named Silva (Javier Bardem). The man has a serious grudge against M and is exposing MI6 undercover agents to punish her. After an attack at MI6 HQ, the agency is left scrambling and sends Bond out to nab Silva, even if Bond isn’t physically ready to return to field duty. Silva is determined to kill M and destroy the agency that left him for dead.
While Skyfall is indeed a good Bond movie and worlds better than 2008’s Quantum of Solace, it still cannot meet the rapturous applause it’s receiving among critical circles. It starts off strong with a nifty action sequence in Istanbul (the go-to action setting for 2012). Bond is chasing a bad guy, and we go from foot chase to car chase to rumbling on top of a speeding train. And there are natural complications that take advantage of geography! When Bond hops on the train, he climbs into a construction crane to fight back, smashing open the back of the train car. It’s a terrific opener that gets things starts briskly, and the sexual chemistry between Craig and Harris (28 Days Later) is palpable. Then the movie pretty much deflates in the second half. There’s a build-up to the villain and his master plot, but once that plot is revealed the film can’t live up to the hype. There are enough plot elements that feel important but eventually get discarded. Here’s a minor example: Bond is given a handgun programmed to his palm print, so it will only fire with Bond wielding it. It’s the only gadget in the movie, so you’d expect it to be utilized in a significant way. One nameless thug uses it then gets eaten by a Komodo dragon. That is it. Seems like an awful waste of funds for it to be thrown away so casually.
The last act has a protracted finale in Scotland, exploring Bond’s ancestral home and his tragic backstory. I’d like to think the insights we’re offered are important but I don’t believe they are. Bond was an orphan (the best recruits, says M) and Albert Finney (Big Fish) was his quasi-father figure/caretaker. It’s not enough to compensate for the slack pacing and encroaching boredom present. The good guys are holed up in an estate, waiting. And that’s what you want in a Bond movie, let alone any action film, for the heroes to sit and wait. An action movie should be building to a climax of intensity, thematically as well as plot-wise. Skyfall is that rare Bond film that flirts with coming undone; each passing action sequence seems less interesting than the one before.
With Mendes directing and Roger Deakens, the greatest working cinematographer, at his disposal, this has to be the best looking Bond movie. The shot compositions are often stunning, making fine use of the visual space and the balance of light and shadow. There are even some shots that might remind you of Mendes previous films like American Beauty or Road to Perdition. Added with some above average action, it makes the thrills an even better sight. There was a fight sequence in a Chinese high-rise almost completely in unbroken silhouette, with the neon tentacles of advertisements dancing in the background. It’s a wonderful image. Even when the movie was losing me at points, I could at least admire the visuals. I was worried that Mendes would not have a deft feel for action. After all, another indie director mostly known for dramatic work, Marc Foster, helmed Solace. That selection did not work out so well, though the script was notably weak. Mendes, on the other hand, can stage some pretty exciting action sequences with judicious editing, allowing the audience to follow along with ease. He’s not exactly a knockout when it comes to constructing action sequences, but the results are more than adequate for a guy whose last two movies were Away We Go and Revolutionary Road.
For the previous Craig entries, it feels like the movies have borrowed more from Jason Bourne than Bond. They’ve gone for a grittier, darker, more realistic portrayal. Skyfall takes a very interesting angle with the character, showing a Bond coming to terms with his physical limitations. It’s a Bond that has to confront his most nefarious foe: aging. Mallory (Ralph Fiennes) tells the agent that the whole spy business is “a young man’s game.” In the old days, you needed men with lairs in volcanoes and giant doomsday lasers. Now you can send the world into irreversible chaos with a laptop. Skyfall is at its most engaging when it confronts the old world of spies and the scary new world of technology. Can the Queen and MI6 compete or will they be left behind? Bond and his organization must confront their limitations and mortality, and this added dimension of vulnerability makes the series far more emotionally resonant.
Here’s my main problem with the villain: it’s a bait and switch affair that leads to unfulfilled potential. Silva has been spoken of with such awe, a man who could bring governments to their knees with the click of a button. He’s made out to be this dangerous cyber-terrorist genius. So what happens for the second half of the movie? He chases people around and shoots guns. It’s like Skyfall completely forgets what made their villain special. Bardem gives a flamboyant performance with an extra dash of actorly nuttiness, but it’s nowhere near the memorable menace of 2007’s No Country for Old Men. That’s an unfair comparison, I know, but where the movie really starts losing it is when Silva loses it. He becomes just another garden variety psychopath, though one with a creepy oedipal complex. Psychopaths do not work in the James Bond universe. Agent 007 needs a foil that is smart, not crazy and a mad genius rather than mad. I recognize that Silva’s psychological shambles is meant to be a sign of the potential fate of all agents, let alone agents that are given up by M. That doesn’t mean you abandon all the traits that make the villain who he is. The problem with Silva, despite a rather jarring monologue about the effects of surviving a cyanide capsule, peaks with his first appearance. He has a grand entrance and places Bond in a very precarious position, forcing him to confront his physical failures. That’s the villain I want to see. And the awkward handsiness of Silva will also lead many to question whether he’s gay, which wouldn’t matter if the movie wasn’t so clunky.
It also feels like Skyfall may be the conclusion to this incarnation of Bond. I know Craig has been signed for two more films, and that’s great news as he’s fully made the character his own at this point, but the movie seems to setup the Bond we’re better acquainted with. We started from scratch with Casino Royale and now the familiar world, with the reemergence of familiar characters, is coming into focus. The scenes with the new Q (Ben Wishaw), a gangly whiz kid, are enjoyable and they contribute thematically to the old vs. new/age vs. youth conflict at heart. This feels like a transition film, meant to pass from the bruising realism into the polished pyrotechnics of the franchise’s past. There’s a reason the famous gun barrel shot happens to conclude the movie, because by the end of those 142 minutes, it now feels like the formation of James Bond has completed. There are also plenty of in-jokes and references for Bond aficionados to lap up. Even the (lackluster) title song by Adele is in the vein of the old Shirley Bassey numbers.
While not living up to the exultant hype machine, Skyfall is certainly a good Bond movie, though not nearly good enough to be in the conversation of the best. The action starts strong but is prone to diminishing returns especially as the movie transforms into a more ordinary action thriller. The most memorable sequence is in the opening, which isn’t a very good sign for the rest of the movie. It’s still a suitable action movie, and one that pays closer attention at character for a character that’s lived for 50 years in various film incarnations, but just because it pays more attention to character doesn’t mean it does it well. Perhaps I’ve just become spoiled after the artistic and commercial heights of Casino Royale. This is still an entertaining movie that often looks great and has some great actors doing suitable work. We’re still far and away from the loonier Pierce Brosnan episodes, so there is that. I imagine audiences will be more favorable than I am and make Skyfall the most successful James Bond film in history. That’s fine because it feels like, with everything established, that we’re about to hit a new and exciting phase with Craig’s version of the character, and that will leave me shaken and stirred.
Nate’s Grade: B
We pick up things almost immediately from where we last left James Bond (Daniel Craig). He’s been wounded by being betrayed by his deceased lover, Vesper (Eva Green). A shadow organization known as Quantum kidnapped Vesper’s boyfriend and threatened to kill him if she did not get close to Bond and then betray him. So now Mr. 007 is on the hunt for anyone associated with this secret club responsible for his lover’s demise. Dominic Greene (Mathieu Amalric) is a slimy businessman who fronts an environmental company but really wants to control world resources. He’s a bigwig with Quantum and Bond follows along, leaving a trail of bodies behind that makes his agency believe he’s gone rogue. But Bond isn’t alone when it comes t seeking vengeance. Camille (Olga Kurylenko) is out to avenge the murder of her family by a Bolivian general, a close ally to Greene. She and Bond form a partnership that naturally extends into the bedroom.
Quantum of Solace feels less like a sequel than a plot hangover. Nothing remarkably new is thrown into the mix, and the story is drilled down to the brass tacks of finding whoever was responsible for Vesper’s betrayal and untimely death. Revenge is a fine motivating factor, and many great movies have been developed around the idea of vengeance, but Quantum of Solace barely takes a breath from the action because it really doesn’t have anything else holding together its tale. By the end of this caper we know precious little more than what we started with. We know there is a big bad shadow organization that “has people everywhere,” as big bad shadow organizations are wont to do in the Bond universe, and we know it’s name is Quantum and that it does bad things. That’s just about it, people. There’s even one plot point that is such a huge rip-off of an iconic image from Goldfinger that I’m baffled that either nobody caught it or they were naïve to think it would be a well-received homage (you’ll know it the instant you see it). The movie is the shortest Bond film ever, barely cracking 100 minutes, a full 40 minutes shorter than Casino Royale. It’s as if the filmmakers are expecting everyone’s good feelings from Casino Royale to cover up for the fact that the story is a leftover. It’s like the plot for Quantum was accomplished by the previous movie; therefore, this flick can be nothing but brawn and steely nerve. I’m not expecting my Bond movies, or even my action movies, to dazzle me with nuanced screenwriting, but I do expect there to be a little more something going on than, “Man chases intel. Gunshots and explosions occur. End.”
Naturally any hiccups or lapses in plot would be overlooked if the action sequences were something to get excited about. Quantum has taken the Bourne mantra to heart, far more so than its Bourne-flavored predecessor, and that means lots of bursts of action but told through quick-cuts that assault the senses. Now, I’m not one of those who complain about the Bourne fighting style and its infamous editing, but imitators generally fail to find the same pizzazz. The flick is front-loaded with 45 minutes or so of solid action but there’s never really any set-up to the action; it just sort of happens. What really hurts the movie is that none of the action sequences is truly memorable. I can easily recall three or four sequences from Casino Royale, but the only sequence in Quantum that I think will stick in my mind is a fight sequence over scaffolding where the camera follows the plunging actors. There are car chases, boat chases, airplane chases, foot chases, and it all has a more realistic vibe without the assistance of technological wizardry. The stunt work is still sterling but it?s fleeting moments of awe in a landscape of forgetful action sequences.
Making the franchise more closely mirror our own world is an interesting and mildly refreshing decision; it sure has helped the Batman franchise. But there are problems when the typical over-the-top fantastical Bond elements sneak back into the movie. The villainous organization Quantum is pretty vague. They look to rule the planet by some means, but then again if the Bond franchise is taking a more realistic approach then having a world-wide secret organization that can infiltrate loads of covert agencies is pushing it. The baddie of this go-round is an effete Euro trash businessman, fine, but don’t give him an axe and pretend that he’s going to be an effective force against Bond. Also, what’s the point of having a glass hotel in the middle of a desert? Why to blow it all to hell, of course. It reminded me a bit of the ridiculous ice palace in 2002’s Die Another Day.
Craig is still one of the best decisions the Bond producers ever made. He brings the same level of intensity he did to his blockbuster introduction to the series. Craig is all bruises and determination, doing whatever he can to get his answers. He does his best to show the humanity beneath the brutality, but the script fails him. He’s more reactionary this time and seems to behave like a missile that’s in search of its target ready to explode. The caged fury is still there but it seems put to less good use. Kurylenko (Max Payne) is less a Bond girl than an ass-kicking sidekick. She’s given some minute amount of back-story but she’s essentially the pretty face that gets to handle the big guns. Amalric (The Diving Bell and the Butterfly) can be a sleazeball thanks to his natural bug eyes and he doesn’t get much more to do than sneer. He never comes across as being a fierce threat. Gemma Arterton (RocknRolla) is a fairly pedestrian Bond girl with a fairly tame name, Strawberry Fields. She plays the role like a hot librarian coming alive after being seduced by the sexiest man on the planet. Her time in the movie is so short that I question what significance she had other than supplying a requisite sex scene. Dame Judi Dench is still holding her head high amongst all the spy hijinks.
I think I have figured out a way to make Quantum of Solace feel like its own movie, though it does require some creative license. Pretend that Casino Royale ended shortly after Bond was freed from his naked genital torture (it still hurt to think about it). Now, imagine that the opening of Quantum of Solace is the last twenty minutes of Royale, where Bond and Vesper are canoodling in Venice before the bad stuff happens. That sets up Qauntum‘s conflicts and provides a plausible plot trajectory that makes the movie more its own entity; Vesper establishes the conflict, the conflict is resolved by the end of minute 100 (though it would be minute 120 if we’re adding and subtracting parts). Wouldn’t that be a better Bond movie? At least the film would then have one memorable action sequence, albeit the sequence was stolen from another movie.
I suppose my disappointment is coming across more than I intend, because Quantum of Solace is a rather solid action caper with exotic locations, some nifty camerawork, and a brutal efficiency when it comes to pacing out the action. I certainly was entertained and had a fun time with Quantum of Solace, and I?m sure most filmgoers will echo that experience. But in the age of a realistic James Bond cribbing from the Bourne franchise, I was expecting more than a leftover from an earlier albeit terrific movie.
This is very different James Bond and it’s about time. The Bond film franchise began all the way back in 1962, and it essentially became the blueprint for the modern action movie. Quips, alluring women, exotic locations, car chases, colorful villains, and spoiled plans for greed or world domination. But even if Bond got the ball rolling, the action movie became its own insatiable beast, thanks to the likes of studio bean counters and the ubiquitous uber-producer Jerry Bruckheimer. The 90s Bond revival followed suit. The movies became more about extravagant fireballs, throwaway characters, and preposterous scenarios. After 2002’s Die Another Day, where Pierce Brosnan’s Bond drives an invisible car through a melting ice palace caused by a solar laser from space run by a yuppie playboy who really had the DNA of a North Korean dictator… well, you don’t need to be an expert to figure out that something was rotten in that state of Bond.
The Bond films have great history to them, but let’s not get overly romantic here; a majority of the James Bond movies are outright crap, especially the ones with Roger Moore. There were jaunts into space, men with metal teeth, Timothy Dalton, a title called Octopussy, and Christopher Walken trying to have California fall into the ocean. Let’s face it, half the movies are rubbish. Someone, anyone try and tell me the redeeming qualities of Moonraker. The last good-to-great Bond movie was Brosnan’s debut, 1995’s Goldeneye. The Bond franchise has been in desperate need for a makeover. This is it.
The producers went back to Bond basics. The long-time producers had the rights to every Ian Fleming novel, except for Casino Royale, which was turned into a cheesy comedy lampooning Bond instead of competing with the franchise. Several decades later, we’re given a serious adaptation of Royale, Fleming’s introductory book about the secret agent that rewrote movie rules. The new Bond has a splash of Jason Bourne in him and seems more tightly wound and hard-boiled. He doesn’t have time for trivial decisions like shaken or stirred. “Does it look like I give a damn?” he barks at the bartender.
Bond (Daniel Craig) is more thug with a badge than a suave secret agent. He’s just risen to double-O status and his boss, M (the incomparable Judi Dench), doesn’t feel that he’s ready or can be trusted. But then, he is the best poker player MI5 has. Le Chiffre (Mads Mikkelsen) is entering into a high stakes poker game worth millions of dollars. He’s playing with the money of African warlords and terrorists and has promised them a great return on their investment. Bond is assigned to gather information and stop Le Chiffre from financing terrorism. Vesper Lynd (Eva Green) is a representative of the bank that will be sponsoring Bond in the card game. It’s up to her to keep tabs on Bond and make sure her bank?s money is wisely invested.
Now this is what action movies should be like. Casino Royale is a terrific ride with great action sequences, great intrigue, strong acting, and some wonderfully exotic locations. The movie, like Bond to Vesper, sure feels the need to prove money was well spent. The story is smart and filled with sharp dialogue, perhaps thanks to co-writer Paul Haggis (Million Dollar Baby, Crash). This is Bond dialed back, stripped of fancy gimmicks and gadgets and left to battle with his wits and his brutality. This is a meat-and-potatoes action movie without irony or frills. It’s serious about its business and business, let me tell you, is good. Casino Royale is monstrously entertaining.
There was a lot of grumbling when Craig was selected as the next actor to fill the 007 shoes. Some scoffed at the idea of a blonde Bond, as if hair color had shot to the top of the list of important qualifiers. I wrote this about Craig after seeing 2005’s Layer Cake: “This man is a modern day Steve McQueen with those piercing blue eyes, cheekbones that could cut glass, and the casual swagger of coolness. We may never see Craig sweat but he still expresses a remarkable slow burn of fear so effectively through those baby blues.” This man is the perfect candidate for a Bond reboot. He has a boxer’s face, those wonderful eyes, and a sculpted body that will take many a breath away. But even better, Craig is likely the best actor that has even been tapped for 007. Connery will always be the sentimental favorite, and rightfully so, but Craig imbues his Bond with startling amounts of emotion and vulnerability. In the dramatic black and white opening, his first kill isn’t clean and quick, it’s long, drawn out, messy, and leaves Bond shaken, not stirred. His relationship with Vesper gives him even more opportunities to feel and be tortured, sometimes literally (Note: a naked torture sequence is far too intense for children, especially those with their genitals on the outside). Craig gives a rich performance. When he’s chasing bad guys you see the determination of his running, the anguish on his face. When he’s flirting with women you can practically feel the smolder. This is a far more pragmatic Bond and Craig is the right actor for the job.
Green leaves her mark as one of the best Bond girls in the franchise. Usually the Bond women are either respites for fine-tuned lovemaking, or damsels wronged by the eminent domain of evil. She’s sinewy and sexy in a way more film stars should be, and her acting is on top. She has a nice moment where she sits in the shower in shock after being witness to the reality of murder. She showed a lot of promise, and about every inch of herself in The Dreamers, and gives a commanding performance on her biggest stage.
Director Martin Campbell has some history with the Bond franchise, restarting it with Goldeneye. He’s a pro at orchestrating action sequences, and there are some doozies in Casino Royale. The beginning sequence is a thrilling foot chase inside a construction zone. Bond’s target, a bomb maker, bounces off walls, swings along ledges, and motors around beams and ladders like he was a trained monkey. It’s an exciting French style of acrobatics called Parkour, and it was used to dizzying effect in this year?s District B13. The chase just goes from one level to another, and the stunts are brutal and of the death-defying variety. It’s a showstopper opening. An airport sequence is also quite memorable, as Bond races to stop a bomb from reaching an airplane. Campbell has taken a hint from the Jason Bourne spy movies and made Bond more reactionary to his surroundings. Many fight sequences feel tense and un-choreographed, even though we know that isn’t the case. When this Bond gets into scuffles you don’t know whether he’ll make it out unscathed. Campbell keeps the pace steady and the visuals crisp. Best of all, Campbell allows the audience to fully see what’s taking place. There’s no MTV-style edits. The film feels totally in control like the best action movies do. You’ll feel battered, bruised, but exhilarated all the same.
However, Casino Royale is not a perfect action movie. It feels way too front-loaded; all the big action sequences seem to occur within the first hour. The film then settles in for a climactic game of… cards? I’m not one who fell into the spell over Poker on TV the last few years. It just doesn’t seem that thrilling to me to watch one guy turn over his cards and then wait for another to turn over their cards. There are only so many combinations to be had, and hoping for Bond to have a flush to beat out four of a kind is just not high drama. It’s luck. The poker scenes seem to last longer than they should, as does the film as a whole. This is on record the longest Bond movie ever, clocking in at 144 minutes. It’s a whole hell of a lot of fun, but the tacked on ending in Venice seems like an entirely different movie slapped together for closure. The villain is somewhat weak. He’s given a nifty visual item, weeping tears of blood, but it is meaningless. The plot also gets too convoluted for its own good, with double-crosses, triple-crosses, and finally a reveal as to who the Big Bad in Charge was and I could not for the life of me remember who he was. Seriously, there are so many characters and faces shoved in that the producers could throw us a bone. All I’m asking for is some clarity while I chow down on my popcorn.
Casino Royale is the Bond movie Ian Fleming would have paid to see. Craig and Campbell have given new life to a teetering franchise. This Bond is much scrappier and more cunning. The action sequences are slick and the movie is fun and engrossing, plain and simple. In the closing seconds, when the familiar notes of the James Bond musical theme come alive you will feel like the journey has been earned.
Nate’s Grade: A-
James Bond is a symbol in our popular society. He represents charm, bravery, male chauvinism, and the essence of cool. So why is this dying image seeming more like a dinosaur than a hero? The World Is Not Enough, the latest installment into the longest running franchise in movie history, exhibits more of commercial feeling than an actual movie. This Thanksgiving fixin’ is overly stuffed with useless gadgets, double entendres, messy explosions, outlandish cartoon escapes, and even wooden performances. But it all doesn’t matter because it’s a James Bond movie and we know what we’re getting and we want it! But why does this helping seem less filling than those of the past?
The Bond films of recent are seeming to take a cue from the Batman flicks by thinking two are better than one. Does anyone remember fondly the days when one Pussy Galore was enough for the world? With TWINE we get double stacked with Bond girls, and this has to be the weakest crop of exotic babes yet. Sophie Marceau comes off as an arrogant whiny drama-queen twirling her pretty fingers in that bear rug Brosnan credits as a chest. She spends virtually the entire running time preening around wrapped up in a bed sheet or underneath it. Connect the dots to Denise Richards who is a nuclear scientist in her day time, but a cover girl in her free time. The only thing nuclear about Denise Richards are the two reasons standing in front of her that she was hired for. How convenient that the finale takes place underwater and her with only a T-shirt. Is MGM this desperate for the money of teenage males?
The most depressing aspect of the Bond films of late are the hysterically preposterous and cheesy villains. In TWINE we get a scary Robert Carlyle who has a bullet lodged in his brain and allows him to withstand all pain. Great, but all he does in the flick is hold a hot rock and punch his hand through a table. If you’re going to give a villain an eccentric trait you have to play to that trait to give the dubious baddie some semblance of an advantage in a dire situation. The possibilities could have been great for Robbie but he’s utterly wasted and so is the idea.
Usually in a standard Bond flick there is at least that one “Wow” scene where you gasp as your breath is taken. that one stunt or sequence that mystifies you with excitement. There was never a “Wow” moment with TWINE but the action held its own and kept from succumbing into tedium.
TWINE may not be the best Bond, but it sure as hell is better than Tomorrow Never Dies. Its finale may be anti-climactic and cramp, but the action in this outing is regularly up to speed. It may not have the best actresses… but… but they look pretty when wet. all in all James Bond is a satisfying figure to have grace the screen every few years to revisit the same escapist domain of earlier follies. Let’s just pray they tinker with the system before we get another Tomorrow Never Dies, or worse, another Timothy Dalton. Stay with us Pierce Brosnan; the world needs you.
Nate’s Grade: C+