Over and Done With
November 16, 2015
Spectre (2015).
D: Sam Mendes. DP: Hoyte Van Hoytema. W: John Logan, Neal Purvis, Robert Wade & Jez Butterworth. Starring: Daniel Craig/Christoph Waltz/Léa Seydoux/Ralph Fiennes/Ben Wishaw/Naomie Harris/Andrew Scott/Monica Bellucci/Rory Kinnear/Jesper Christensen/Dave Bautista. (NOTE: Based on Ian Fleming’s characters from his James Bond series)
Oh how the mighty do fall. The newest entrance into the James Bond cannon, Spectre, is quite literally a mess. Its theme song, title sequence, premise, script, and execution are all vastly inferior to 2012’s Skyfall. If Daniel Craig felt done with his portion of this franchise you will feel done with it as well after two and a half hours of this film.
Let’s start with the opening. The first sequence is actually strong. Dropped into the middle of Mexican festivities for the Day of the Dead our Bond (Craig) is already hot on the pursuit, no introductions needed. Yet this opening gives way to a scatterbrained title sequence that lacks any coherent theme or look even. The best visuals are of women made out of wispy smoke, but this is reminiscent of the sand and smoke of the title sequence of Quantum of Solace so not entirely new. Sam Smith’s song ‘Writing on the Wall’ is sadly made worse by the visual confusion of the credit sequence. The octopus imagery, which anyone would already be aware of from the trailer, is just too simple and by the end of the film lacks any significance. For a franchise whose theme songs and title sequence are legendary this is a major misstep.
Next we are subjected to rogue Bond on the run who quickly and superfluously seduces Monica Bellucci to gain minimal intelligence. Bond quickly learns that there are bigger forces at work that perhaps have been puppeteering his life recently. This is the first of many times the writers blatantly remind you of Craig’s bond films as a set and the time line of his character. Christoph Waltz’s villain lacks any originality as he merely serves this purpose of stringing all the films together. In other words, ‘hehe, it was me the whole time!’ Sadly Waltz becomes a caricature in this world. Some great hand to hand combat happens, but none of the action really comes from the villain. The final action act is a video game conclusion, save the princess and get out of the building in time. What a bore.
Bond is still supported by an excellently serious Ralph Fiennes as M and Naomie Harris as Money Penny. Ben Whishaw’s Q finally gets his do and breaks to the surface of the spyage with his gadgets and gizmos galore. Andrew Scott’s C is quite literally a less complex Moriarty, his character from the BBC Sherlock series. Type-casting if it ever needed a definition. Even gorgeous and brainy Madeleine Swann (Seydoux) cannot save Spectre. A character that could have been a cryptic comment on the Bond brand of misogyny gives way to Bond romance that sprouts in a matter of days. It’s so unbelievable it appears stupid rather than old fashioned. But what is bond without women who lay down for him? Maybe this character cannot work anymore.
Spectre is uninspired and slogs on so long you feel you have watched a few different films. Mendes is not coherent on a look or a story. like he was in Skyfall . Craig phones it all in and considering his publicly vented boredom with this character you wonder if the film should have been made at all. Also there is the inevitable comparison with the recent Bond homage Kingsman which narratively addresses technology and surveillance as weapons. This is simply bad timing, but really what everyone is waiting for the announcement of who the next Bond will be as Idris Elba rumors continue to spiral. I for one would love Elba as Bond, if you don’t believe me watch the BBC’s Luther. We shall have to wait and see, but maybe we all need a break anyway?
The Bond is Back
November 30, 2012
Skyfall (2012).
D: Sam Mendes. W: Neal Purvis, Robert Wade, John Logan. DP: Roger Deakins. Starring: Daniel Craig/Judi Dench/Javier Bardem/Ralph Fiennes/Naomie Harris/Bérénice Lim Marlohe/Ben Wishaw/Albert Finney/Rory Kinnear/Helen McCroy. (NOTE: Based on Ian Fleming’s characters from his James Bond book series.)
He struts, he gleams, he’s wounded, he’s heroic, and damn it, he likes his drink made a certain way. Bond is back.
Although this is Daniel Craig’s third film in Ian Fleming’s well quaffed hero’s tux, 2008’s Quantum of Solace was so dreadful most of us needed four years to get over the memory. This year’s Skyfall is brilliant in comparison. However, 2006’s Casino Royale is probably the best concept and executed film of the Craig era. And here’s why…
Skyfall runs at a whopping two and a half hours, which was survivable but annoying as the film was mostly uneven. Director Sam Mendes (American Beauty, Revolutionary Road, Away We Go) has a clear visual vision. Cinematographer Roger Deakins must be given high praise for his camera work. There are moments where the use of shadows and light is just astounding and will remind anyone what can be achieved through this visual medium. Deakins is an industry veteran and lends a new dark beauty to Bond’s world.
With three writers on the script this may have been the downfall of Skyfall. There are few too many easy fixes, with a planned attack ultimately feeling a bit to obvious and simplistic. The adult Home Alone-esq defense falls flat too. At times this is remedied by Javier Bardem’s grizzly and memorable turn as Craig’s enemy. Without ruining anything, it is safe to say he makes white the new black. It is also fun to see Craig against a smart villain who isn’t defined by guns and rooftop leaps. Craig continues to give his Bond depth, while harnessing this ex-military modern look. Somehow he is able to be physically imposing and dashing in a tux all at the same time.
The Bond ladies of this film are striking, but remain in their usual two categories. Judi Dench returns as her crankily head of British Intelligence, M. Dench never fails to play her competing warmth and coldness towards her Bond. Her presence elevates the film and her storyline is well developed as the maternal figure of woman. In the other category lies gorgeous French Cambodian actress Bérénice Lim Marlohe as Sévérine. As the sexual causality of the film she represents the sexual figure of woman. Unfortunately, Naomie Harris’ as Eve, Craig’s pseudo partner, could hopefully bridge the gap and be a female comrade to Bond. However, you get the feeling she’d hop into bed with him at any minute, which negates that concept.
Ultimately, Skyfall is immensely enjoyable. Composer Thomas Newman uses the canon of Bond music to his advantage, creating throwback moments that elevate the film. There are fun nods to old Bond films, but nothing is overdone or cheeky. Even Ralph Fiennes seems in place in this world. Lastly, whose ever idea it was to have Adele write and perform the theme song should get a bonus. The credits sequence is breathtaking, but so is the song. Harkening back to when Bond songs were ‘it,’ Adele’s song is truly on the mark.