Bullet Train and The Princess are two recent releases that could serve as a double feature for all they have in common. Both movies prioritize fun above all else, both of them feature stylized violence and bloodshed, both of them have a perverse sense of humor, and both of them feature young actress Joey King (The Kissing Booth, Wish Upon), coincidentally playing the listed roles of Prince and The Princess. What more do you need for this combo? If you are a fan of Bullet Train, you’ll likely be a fan of The Princess, and vice versa, because both of them are exactly as advertised. They’re wild, whimsically violent, but succeed with nimble action construction, bizarre and engaging characters, and high energy that sparks fun escapist entertainment.
Bullet Train is set almost entirely on a speeding bullet train in Tokyo, and we follow a group of hired killers, mercenaries, and generally nasty people all sharing one very fast locomotive. “Ladybug” (Brad Pitt) is a reformed hitman who only takes snatch-and-grab gigs as he’s trying to better himself with therapy and meditation. He’s meant to grab a briefcase of money and get off the train. Naturally, things don’t go as smoothly as planned. Onboard the train are “Lemon” (Brian Tyree Hill) and “Tangerine” (Aaron Taylor-Johnson), who have the briefcase in their possession along with the prodigal son (Logan Lerman) of a scary Yakuza boss known as “The White Death.” Also on board is Kimura (Andrew Koji) seeking to find the person responsible for pushing his child off a rooftop, Prince (Joey King) using her diminutive stature to trick unsuspecting men, the Wolf (Bad Bunny) seeking out the person responsible for the death of his bride, and several other masked killers looking to up the ante. Characters will clash, many will die, and “The White Death” will be appeased by the end, coming to collect a blood debt from all.
Bullet Train was, blissfully, everything I was needing it to be. It’s a universe familiar to fans of Quentin Tarantino and especially Guy Ritchie, with colorful and threatening characters with large personalities and quirks colliding in unexpected and violent ways. I’ve seen so many Tarantino knock-offs, and Tarantino knock-off knock-offs, so I appreciate when someone is able to understand what it takes to succeed on this unique playing field. Screenwriter Zak Olkewicz (Fear Street: 1978) knows how to sharpen the kind of off-the-cuff banter that makes these movies excel, with space given for the characters to make a sizable impression. There needs to be time to get to know them, their quirks and faults, and then send them all running at one another at cross-purposes, interacting in fun ways that lend to one character screwing something up for another. There’s about a dozen characters dropped upon us, and just about everyone gets a flashback or introduction set piece, sometimes more, sometimes extensions of previous flashbacks, sometimes extensions from alternate perspectives. Part of the fun is just seeing how the different characters relate to one another, so there is a period of time where the mask has to eventually drop, and the reveal needs to be worthwhile. It’s a lot, and Bullet Train gleefully trades in excess upon excess all in the name of chasing after a good time, and if you connect on its zany and breezy wavelength of reckless violence and dark humor, then you shall be happy for the ride.
The movie is constantly reshuffling and transforming, allowing it to hyperextend into whatever shape it necessitates before contorting back to its next phase. This malleability makes the movie far more responsive, sometimes overlapping, and it provides an extra level of energy. It’s reminiscent of Snatch, my favorite of the Ricthie cockney crime capers, where the story zigged and zagged through linear time, providing answers to different stacked questions. I won’t say the characters are as distinct as Snatch, but Olkewicz takes his time to introduce each with relish. Pitt may be the marketable star of the movie, at least as far as advertising is concerned, but it’s really much more of an ensemble, and one anchored by Lemon and Tangerine. Their droll, snappy banter really cements their long-term relationship almost like a screwball romance. They end up becoming, strangely, the heart of the movie, if one were to suggest a movie with an entire wedding party vomiting their guts to death had a beating heart. Their exact connection and genuine affection for one another, even when they’re driving one another mad, is one of the film’s many surprises as it zooms ahead. There are fun cameos, and some unexpected abrupt deaths, but Bullet Train works because of the entertainment of the kooky killer characters. I enjoyed that one character’s obsession, namely likening people to Thomas the Tank Engine avatars, has a personal connection but actually leads to some ironic turns. Not every set-up has the best payoff (Chekov’s toilet snake comes to shockingly little) or resolution (why wasn’t the snooping conductor thrown back in or given a revelation?) but with so many characters criss-crossing, so many goofy asides and cul-de-sacs, and so much bloody mayhem, there’s a steady stream of fun, satisfying payoffs and retribution until the mid-credits sequence.
To me, the water bottle symbolizes Bullet Train at its best and worst. After two hours of multiple characters and their out-of-order flashbacks shuffling for dominance, we get an inanimate object with its own flashback. It’s a goofy and superfluous addition, as the water bottle has served as a plot device but has served its ultimate plot purpose already, so seeing its entire history offers no new information that the audience didn’t already have. However, what it does is show the movie from the perspective of this bottle, and many sequences are reframed from the bottle’s rigid point of view. It made me think about how after they got their shot setups, someone on staff would then call out, “Okay, we need the water bottle POV shot now,” and they would film that. I appreciate the effort for something this fleeting and silly. They didn’t need to put in this flashback or this level of attention to an object that ultimately just gets thrown at a guy’s head. However, it’s the misdirect, the ridiculous inclusion on top of the others, and the ramping of energy that made me smile, even as little else came out of it. I appreciated the showmanship. For me, this is emblematic of the movie as a whole, an overload of style and energy just for the fleeting hell of it.
Under the direction of David Leitch (Atomic Blonde, Deadpool 2), the action is as fun and energetic as the colorful characters. Leitch has become one of the best modern directors of action movies. The hand-to-hand combat is refreshing and makes use of close quarter combat demands. I enjoyed that the two participants in a fight are trying to sneak in quick moves without getting caught by an older lady who demands quiet in the quiet train car. I enjoyed the zany flashback where Tangerine and Lemon recount to the camera and dispute the number of men killed on a previous job. With a character cursed with bad luck, it provides opportunities to have fun with accidents and bad timing, which Leitch works into different action set-ups and setbacks. Even when the movie literally goes off the rails and becomes a big cartoon, Leitch finds ways to marry the big tone in such a manner that the ridiculous doesn’t prove off-putting. When characters are swinging samurai swords in slow-mo, while a Japanese version of “Holding Out For a Hero” is pumping on the soundtrack, I just sat back and soaked up the deliciously disposable fun times.
The plot of The Princess is as straightforward as Bullet Train is knotty. The Princess (Joey King) of a fantasy kingdom is chained at the very top of a castle tower. Her captor, Julius (Dominic Cooper), has imprisoned her family and plans to wed the princess and become king. The princess, however, has other plans. Thanks to her martial arts and weapon training, she breaks free and becomes a one-woman wrecking crew as she descends the tower floors to freedom.
I was genuinely surprised at how well developed and exciting the action sequences were. The Princess shares more in common with The Raid than anything by the Grimms. The script by Ben Lustig and Jake Thornton follows the model of a video game; every new floor is a literal new level with a new boss or new objective to be achieved to advance to the next level. The simplicity of the premise is refreshing, and the movie doesn’t waste any time ramping things up. Blood is shed within the first few minutes and it doesn’t let up. What I really appreciated was how well constructed each new action set piece was. There’s variety and specification that challenges our heroine, who is powerful but still not all-powerful and bereft of vulnerability. Each new encounter forces our protagonist to think through a different application of skills. There’s a situation that involves overpowering a larger and stronger man, a situation trying to wound a fully armored man, a situation battling two men, then even more, a situation with men charging into the battle and having to escape to a safer environment, a situation where she has to swing along the outside of the castle to enter a different room, a situation involving stealth, and many others, but each requires something different and thus each proves to flesh out our main character and her capabilities and problem-solving acumen. It’s always a pleasure to watch smart people overcome challenges in fun and smart ways, and The Princess has this formula down. I was worried the movie might get repetitive with its video game level design, but each new challenge is an opportunity to dazzle and enlighten us about our John Wick-esque fighter.
That’s probably the best comparison, the John Wick franchise, because it’s a series of movies that is defined by the thrills of its fight choreography and action set pieces. That’s it. The world has some interesting flourishes but the draw is the fight scenes and the pleasure of watching professionals operating at such a high level and with demonstrations that allow us to better immerse and appreciate the artistry of the fighting. And it’s good here. The impressive choreography has a really nice A-to-B propulsion, with each move connecting to the next to tell its own story of countermoves and adjustment. I really appreciated how the specific geography of each location is incorporated into the action, whether that be as a hindrance or an assistance to the fighting. It makes the sequences more meaningful and better developed. It’s also a movie that understands that if you give your villains specialized weapons, they better use them in fun or nasty ways. If all you’re looking for is imaginative, bloody, and brutal fighting, The Princess delivers it all. Credit also to King for throwing herself completely into the role. She effortlessly executes complicated fight moves and swordplay during long takes. You can tell she’s having a blast being a badass. Think of The Princess like a feminist version of The Raid or an upside-down version of Dredd (“Instead of fighting up, this character fights her way… down.”).
The Princess could have made more social statements but its very conceit is a feminist reworking of outdated fantasy tropes, so I don’t mind that it’s a streamlined action movie with a blunt yet obvious point. The familiar story tells us that these damsels in distress are the maidens in need of rescuing (“Sorry, our princess is in another castle” and the like), so just having the princess be her own champion is a simple yet satisfying subversion. This is an action movie and less one on politics; however, it’s a movie that cannot help from being political because it’s upsetting the expected social norms, that women are docile and weaker and at the whims of men. The Princess isn’t breaking new ground here. There have been plenty of movies that re-contextualized the feminine roles of old legends and folk tales and made them more capable and strong and fierce. That doesn’t mean there’s any less enjoyment watching our princess take down one leering man after another. It’s the appeal of the underdog who makes men pay dearly for underestimating her. These repeated interactions and bloody comeuppance speak about as well as necessary for this kind of movie. I doubt things would have radically improved if one of the characters broke into a treatise on the misapplication of gender roles. It’s a woman beating the stuffing out of creepy and lascivious misogynists. For this movie, that’s more than enough to keep me watching.
Where The Princess starts to lose itself is once it shifts into its final act and abandons its formula. I can understand wanting to shake things up so the viewer doesn’t get lulled into complacency, but because the sequences were, beforehand, varied, my interest was not lagging. During this final stretch, the titular princess leads a squad to take down the baddies, and the movie becomes any other number of similar fantasy action movies. The enjoyable fight choreography is still present, but it feels like a rush to clear everything in comparison to the methodical floor-by-floor clearing from before. I wish the filmmakers had merely held steady with their plot rather than throwing things out and relying upon a grand team-up revolutionary raid. There’s also a sudden shift that throws out the rationale for keeping the princess alive. The bad guy just shrugs and says, “Forget it, I’ll find a replacement,” and it feels too arbitrary of an escalation. If he could do this, why was he so insistent for the first hour that she not be killed? It’s not a bad ending or one that ruins the movie but it’s definitely a downshift from the action excitement highs from before.
The Princess and Bullet Train are both frantic, over-the-top, cartoonishly violent, while still understanding how to effectively sell their escapist mayhem. We need to be dazzled by the action sequences and have them be meaningful (check), we need weird and interesting characters that we want to root for or watch bumble onscreen (check), we need payoffs that feel rewarding (check), we need an onslaught of style and attitude (check), and we need, above all else, fun and surprises (check). Neither of these movies is going to qualify as one of the best movies of the year. That’s just not the kind of experience either is shooting for. However, they may be some of the best fun you have with movies for 2022, and in a world in short order of fun, that’s plenty.
Bullet Train: B
The Princess: B
It’s late in the twenty-first century, decades after humanity battled an alien species in a war for the planet, and while humanity won the war Earth is desolate. The moon destroyed. The remaining members of humanity live on a starship around Saturn’s moon, Titan, and the oceans of Earth provide the energy resource. Jack (Tom Cruise) and Victoria (Andrea Riseborough) are the team stationed with repairing drones, the flying machines that protect the energy plants. There are still pockets of alien scavengers that need to be dealt with. Jack and Victoria make a great team, and dip into romantic companionship, until Jack meets a mysterious woman (Olga Kurylenko) professing to be his wife. Jack begins to doubt the purpose of his mission and wonder if the alien scavengers are the enemy.
If you’ve been keeping up with sci-fi cinema in the last couple decades, you’ll likely recognize more than a few elements with Oblivion. From its themes to its plot points to its revelations, there’s little here to designate as original. So the real question remains how derivative can we take? I think when the execution is nimble then it’s one of the easiest sins to remember. Especially in the realm of sci-fi cinema, it’s hard to put together a new story, let alone one set up as a Hollywood star vehicle, without borrowing from other established movies. This in itself is not an issue. Tarantino is a master borrower but he always recontextualizes his artistic influences into something new and different, and while we critics lament his less original career path of late, the man’s box-office profits have never been better in his career. I think when we feel like we’re getting a good story we don’t care when that story has been told before in other manners. Star Wars, after all, has many cultural fathers, but it was a rollicking good time with characters we cared about, so nobody seemed to mind. Likewise, Oblivion has many forbearers from Independence Day to I Am Legend to 2001 to an indie film from a few years ago I shall refrain from mentioning because even the very mention will spoil key plot points. Some will decry the film as a rip-off of superior, headier fare, but I never minded. I was having too good of a time and found the movie too satisfying to quibble.
I won’t say the movie is smart per se but it’s far more measured than I would have expected. The advertising makes it look like Cruise fights a bunch of aliens and robots, and while there is that aspect, it’s almost an afterthought to a slow-burning mystery that patiently parcels out its revelations, even to the very end of the film. I’m trying to be cagey about certain plot points to avoid spoilers. It’s a film that has more on its mind than explosions, but when it goes into explosion mode, director Joseph Kosinski (TRON: Legacy) makes it count. The larger action elements are well staged and polished with some above average special effects. The sight of the moon dashed across the sky is definitely an evocative image. I love the overall look of the film, Kosinki’s clean, spare, bubbly Apple-esque aesthetics. The drones themselves manage to have personality even with a limited, streamlined design and some choice sound design. The man knows how to hold onto an image and when to keep pushing. The action is suitably thrilling and the drama suitably suspenseful. Actually, better than suitably. I enjoyed the details of this world. It’s probably the spiffiest post-apocalyptic landscape you’ll ever see. This is an entertaining movie that finds nice ways to satisfy, and given the particulars of its sci-fi plot, finds a way to have its cake and eat it too. As a result, Oblivion is a sci-fi flick that offers enough to engage the mind and audience demands for big effects and big thrills.
I’ve never been a Cruise hater. I even thought the man tried his damndest to make a movie like Rock of Ages worth watching (a valiant effort but not enough). His character is pretty affable at first and we get to watch as everything he knows comes undone. It’s a role that would lead to overacting, but Cruise underplays the part, more alarmed naïf than flinty action hero. I’m not expecting Oscar-caliber performances in every role but Cruise does a fine job of anchoring the audience and selling his character’s journey. He also has good chemistry with not one but two ladies. Kurylenko (Seven Psychopaths, To the Wonder) is an actress of great beauty and questionable talent, but perhaps being paired up with a genuine star like Cruise brings out the best in her. They’re good together, though my preference was for Riseborough (W.E., Never Let Me Go), an actress who brings a tremulous vulnerability to an otherwise underwritten and confused character that’s more a plot device. Riseborough makes the character so much more than she is on the page. She’s still a relatively new actress so I look forward to her future performances. There are other familiar faces, like Morgan Freeman and an especially unsettling Melissa Leo, but it’s really a three-person acting exercise.
Oblivion is a visually alluring sci-fi thriller that also manages to have enough heart and smarts to leave a satisfying impression. The pacing is more deliberate but offers plenty rewards, doling out revelations up until the end, unpacking its mystery with finesse. The first twenty minutes or so, establishing the particulars of this world and the routine of our protagonists, is downright exceptional. The rest of the film doesn’t quite live up to that start but it continues to be an engaging and entertaining movie with some top-notch visuals. The musical score by electronic band M83 also provides a stirring counterpoint to the glossy, clean visuals (the band’s song “Outro” was also very effectively used in that lovely five-minute trailer for Cloud Atlas). You may figure things out as you watch, but you won’t mind, at least I didn’t. The more I step away the more I think back with renewed enthusiasm for the film. It’s smarter, slicker, and just a more satisfying film than we’re accustomed to with this kind of budget and from Hollywood.
Nate’s Grade: B
Writer/director Martin McDonagh only has one movie to his name but the man has already accrued legendary status in some circles. The 2008 dark comedy In Bruges didn’t create much of a blip at the box-office, but its blend of absurdist comedy, dark drama, shocking violence, and languid contemplation found a rabid cult following. I have several friends who regard In Bruges as the best film of 2008 (WALL-E still reigns supreme for me but I quite enjoyed In Bruges).McDonuagh’s latest, Seven Psychopaths, reminds me of Barton Fink: both are about struggling writers, both are satires of the film industry, and both have sudden splashes of violence and a serial killer who pushes the protagonist to artistic completion. In other words, Seven Psychopaths is a fun film and a great time at the movies.
Marty (Colin Farrell) is experiencing some killer writer’s block. He’s stuck on his new screenplay titled “Seven Psychopaths.” His buddy Billy (Sam Rockwell) is eager to help out. The guys run afoul of another psychopath, mob boss Charlie (Woody Harrelson), due to Billy’s side business. He kidnaps rich people’s dogs and then his partner, Hans (Christopher Walken), returns them and collects a reward. Billy and Hans have kidnapped the wrong shih tzu, and now Charlie and his muscle is going to make them pay.
The refreshing thing about the bloody, wickedly entertaining Seven Psychopaths is that it constantly surprises you. This is such a rarity with modern movies, particularly Hollywood movies that attract as notable a cast as this one. McDonagh is wonderfully adept at throwing narrative curveballs. There were a few surprises where I literally jumped in my seat. You constantly think you have the movie figured out, and then it goes down a different alley and becomes more interesting. One of the pleasures of having psychopathic lead characters is that they are impulsive and do not have to follow the normal purview of logical decision making. They might just call the bad guys and divulge where they are hiding. They can do anything at any moment, and part of that unpredictability is what makes the movie feel so electric, so creatively alive. I must stress that McDonagh surprises in ways that feel satisfying and yet believable given the world he’s concocted. Part of the fun in the first half is just figuring out who the seven psychopaths will be. It’s not like it’s some laconic chamber piece mystery but the psychopaths are an eclectic mix from the real to the fictional to real characters doubling as inspiration for fictional ones. I think in the end there may only be six psychopaths, unless McDonagh is counting himself amongst the numbers.
McDonagh also has a blast deconstructing the very kind of movie that he’s providing. Marty bemoans writing another rote psychopathic killer movie where the violence is fetishized and the bad guys are mythologized into idols. You think the film is headed in one direction, in the Guy Ritchie-style standoffs and shootouts, and then it takes a less traveled path, one where it criticizes these sorts of movies and ponders existential questions about the nature of self-expression and death. It began as a care-free movie about thugs and writers and transformed into a movie that manages to have something to say about life, philosophy, and the cyclical nature of vengeance. Two of our three main protagonists are pacifists and remain so to their imperilment. At one point, a character narrates how this story as a proper movie would end, and it covers all the nihilistic clichés of vengeance and epic body counts. But then Marty, and McDonagh as well, wants to turn away from the expected, from violence for the sake of violence, from the exploitation of stylized suffering. McDonagh doesn’t forget to entertain while he’s making you think in between those handfuls of popcorn. The female characters in the movie (Abbie Cornish, Olga Kurylenko) are generally wasted, in different senses, but McDonagh uses this as another charge against this type of film (a boy’s night out of carnage). This is an accessible movie that can be enjoyed on a whole other meta level. I loved the various gear changes. For me it took the pulpy action material and elevated it to another level of genius.
McDonagh still maintains his darkly sardonic streak of humor that made In Bruges such a riot. I was laughing throughout Seven Psychopaths; chortles, snorts, giggles, big belly laughs. With its heedless violence, obviously this will not be a film that runs on every person’s wavelength of funny. The very opening involves two mafia hitman debating whether shooting somebody in the eye takes actual precision or just dumb luck. It’s the sort of mundane conversation you’d see in a Quentin Tarantino movie, and also the precursor to something nasty and ironic. McDonagh’s sense of humor is similar to Ritchie or the Coen brothers, but the man establishes his own sense of wicked whimsy. The absurdist dialogue is always a hoot and can generate serious malice, especially when delivered by stern psychopaths. Rockwell (Moon) in particular is outstanding and delivers a virtuoso performance of the unhinged. The man just radiates energy. You’ll feel jacked up just watching him. I keep waiting for this underrated actor to break out with each star-making turn, and his comedic zing is played to perfection in Seven Psychopaths. In contrast, Walken (Hairspray) is rather reserved as he underplays his character, one of the saner men he’s played. It feels like the passing of the torch from the older generation of psychopath to the newer generation.
Being a colorful movie about colorful bad guys, and girls, you’d expect there to be some grade-A oddballs, and McDonagh does not disappoint. Some of the psychopaths in question have little bearing on the story plot-wise. There’s Zachariah played by the impeccable Tom Waits (The Imaginarium of Doctor Parnassus). He answers an ad that Billy set up for psychopaths to share their stories to Marty. His tale involves cross-country spree killing of serial killers, rabbit petting, and the love of his life, and partner in crime, leaving him. As far as plot, this little aside has little significance to the plot other than setting up a superb joke to end the movie with. But the character is so interesting, multidimensional, and played with equal parts aloofness and sincerity by Waits, that you can’t imagine the movie without him. Several of these psychopaths could have been the stars of their own movie, from the vigilante killing mob thugs to the tale of one father’s long path to vengeance. Even the fictional psychopath, the Vietnamese man (Long Nguyen) seeking vengeance against G.I.’s, could have enough weight to carry a feature film. The amazing part of the movie is that you don’t feel like any of these characters are shortchanged. McDonagh finds ways to emotionally ground his characters, allowing the audience to empathize amidst the bloodshed and loony characters. We care about Hans and his ailing wife; we care about the friendship between Marty and Billy. It’s real for these characters and so it feels real to us, despite the hyper-real flourishes of the movie.
If you’re a fan of In Bruges, or just dark comedies mixed with sudden violence, then you’ll probably find something to enjoy with Seven Psychopaths. You don’t have to be nuts but it helps. McDonagh has crafted another winner with sharp dialogue, a twisty plot full of surprises, incisive commentary on movies and movie expectations, as well as some sincere soul-searching and poignancy. This baby has it all, folks. Above all else, it’s just a blast of fun. the actors all seem to be having the times of their lives, notably Rockwell, and the morbid laughs and off-kilter thrills should cement another McDonaugh film for cult status. Seven Psychopaths is a palyful movie along the lines of Kiss Kiss Bang Bang and even Adaptation. It’s bursting with ideas and comments and jokes. when you leave the theater you almost want to get back in line and start the ride all over again.
Nate’s Grade: A-
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.