Ronin

Tags

1990's, Jean Reno, John Frankenheimer, Jonathan Pryce, Natascha McElhone, Robert De Niro, Ronin, Sean Bean, Skipp Sudduth, Spy, Stellan Skarsgård, Thriller

Film Title

Ronin

Director

John Frankenheimer

Starring

• Robert De Niro as Sam
• Jean Reno as Vincent
• Natascha McElhone as Deirdre
• Stellan Skarsgård as Gregor
• Sean Bean as Spence
• Skipp Sudduth as Larry
• Jonathan Pryce as Seamus O’Rourke

A thrilling and exhilarating spy thriller cast to perfection and filled with excitement and intrigue, Ronin blends political undertones with pulse-pounding action for a film that will leave you breathless.

Ronin begins with a group of operatives from different agencies who have turned mercenary meeting in Paris. Present are quick thinking Sam, unassuming Vincent, getaway driver Larry, German tech expert Gregor and Spence . Assembling them is Irishwoman Deirdre, who informs the men of why they have been summoned. They are to obtain a metallic briefcase from Nice, of which the contents remain clouded as her superiors won’t reveal what is inside it. Doing this won’t be easy as it is heavily guarded, yet with all the skills of the group it could be achieved. Yet each of the group is weary of the other and simmering distrust builds slowly. Spence is exposed as a fraud by Sam and subsequently dismissed for his gung-ho attitude. Despite this hiccup, Deirdre sets in motion the plan with all involved receiving money and if they can get their hands on the case a larger sum. They put the plan into action and initially it seems as if the case is in their sights and for the taking. Yet loyalties become blurred and betrayals take centre stage as everyone vies for the case and the hunt begins for the mysterious object. In the game of spying, trust is something hard to come by and that is especially the case as Sam teams with Vincent to discover who out of the team is lying and what the case could possibly represent for the respective parties willing to kill for it. The chase is very much on in this spy thriller.

John Frankenheimer is excellent in his direction of Ronin; creating a sense of unease right from the slow-burning start. He is well equipped at building tension before unraveling the divided feelings and machinations of the group as they pursue each other for the mysterious briefcase( which in itself takes influence from Alfred Hitchcock and his love of the MacGuffin). A scintillating and cool script offers up exciting action and well-rounded characters in a constant game of dangerous cat and mouse. I like to be surprised in a spy thriller and it was provided in many forms in Ronin. Red herrings are tossed in and with all the distrust on display, it is a maze of a story that grips like a vice. The fact that the characters all have mystery to them about their affiliations and past careers gives the brain an exercise as you try to pinpoint who among the international crew is betraying who and the loyalty of each. A part of Ronin that marks it out as something special is its refusal to dumb things down for the audience. It treats them with respect and allows their imaginations to fill in what isn’t said between people.  The spectre of the Cold War is very much on the film and this in turn aids Ronin with the political slant and the feeling of an old-fashioned movie, sparked with modern intrigue. As convoluted and complex as the story becomes, Ronin doesn’t short change us on the action front. And when I say action, my oh my there is some creative highlights present. Most of all it is the car chases through the streets of France that provide the appealing and gripping centre of Ronin. These car chases are not glamorized and achieve a realistic edge to them that sets it way above the average chase scenes. You are left gasping for breath at the sheer intensity of these frenzied pursuits and that is in the best possible way. A classy and building score is just the ticket for conjuring the necessary tension and ghost of the Cold War that weighs heavy on the characters.

Whoever assembled the vast international cast of Ronin deserves a massive pat on the back as they did superb in their selection. Heading it is the wonderful Robert De Niro in a fantastic performance. With a quick wit, keen intellect and cynical attitude, his Sam is a character that we root for in the scope of the shifting maze of loyalties. He shares great chemistry with Jean Reno, who is equally as good as the quiet but very skilled Vincent. Out of the group of characters, these are the two that have an implicit trust throughout and have each others back. And with De Niro and Reno in the roles, they come to life vividly. As the lone female of the cast, Natascha McElhone infuses Deirdre with an icy personality and stand offish tendency, which makes her even more mysterious in the cloak and dagger proceedings. Stellan Skarsgård is marvellously cast as Gregor, who appears to be on the sidelines in the initial stages but reveals an unseen ruthlessness as the mission gets more intense. Sean Bean is present in mainly the first half of Ronin and he has the right bravado for his part as the lying Spence, who doesn’t quite have the stomach for this kind of spy work. Skipp Sudduth as the getaway driver has a smaller role that is still impressive, along with Jonathan Pryce as someone very interested in the briefcase too.

Ronin is everything you could ask for in a spy film. It has atmosphere, excellent characters and espionage unease. Not to mention the fact that it knows how to deliver the thrills when needed and blow you away.

The Riddle of the Sands

Tags

1970's, Adventure, Alan Badel, Jenny Agutter, Michael York, Simon MacCorkindale, Spy, The Riddle of the Sands, Thriller, Tony Maylam

Film Title

The Riddle of the Sands

Director

Tony Maylam

Starring

• Simon MacCorkindale as Arthur Davies
• Michael York as Charles Carruthers
• Jenny Agutter as Clara Dollmann
• Alan Badel as Dollmann

A ripping adventure/spy thriller, The Riddle of the Sands is delightfully old-fashioned and brimming with just the right amount of charm and excitement.

It is the very early years of the 20th Century and the adventurous Arthur Davies is on a boating holiday in the Frisian Islands. He comes into contact with a German man by the name of Dollmann, who seems very curious to know where he is going. Davies is more interested in his daughter Clara, who is sweet and wistful. Yet things take an unexpected turn for Davies when it appears that during a storm when he was trying to reach one of the islands, Dollmann tries to crash his boat into his. Wondering why this fatality nearly occurred, Davies writes to his old college friend Charles Carruthers, who works as a clerk for the Foreign Office, and asks him to join him. Carruthers himself has been bored so decides to join his friend. Initially, the cramped conditions on the boat are a bit much for the posh and privileged Carruthers to handle, but he eventually gets the hang of things. Both men become very curious about intentions of Dollmann for hiding the island, his inquisitive nature of their plans and what he could be planning himself. The smart Carruthers believes that is hiding something to do with the German fleet as he is always seen with officers. But as the duo do some more digging, what they uncover is something entirely different. They stumble onto a plot by Germany to invade Great Britain, with the help of boats that they can heavily disguise and passages in the sea that aren’t that well guarded to the east of England. Shocked by what they have unearthed both men know they must put a stop to the nefarious and dastardly plan. But can either of them foil it?

Right from the start, The Riddle of the Sands sets up a real sense of atmosphere and adventure that can’t be faulted. Director Tony Maylam keeps the pace remarkably engaging yet languid, taking in the scenery and uncovering that both Davies and Carruthers finds themselves coming across. Modern viewers may be surprised at how leisurely the film’s pace is done, and there are times when it meanders, but winning verve and old-fashioned enthusiasm make sure the movie isn’t swept away by it. I mean while The Riddle of the Sands is a thriller in one respect, it is just as much an adventure too which audiences should remember. And speaking of scenery and visuals, the hues of gold, brown and misty white compliments this adventure with danger and a lot of excitement. Whoever did the location work for this movie was a really talented person because all of the locations add something to the story and bring airs of mystery. A splendid score, filled with a repeating motif of intrigue, further compliments this treat of a movie.

The Riddle of the Sands contains a very well assembled cast. As the two dashing heroes of the narrative, Simon MacCorkindale and Michael York are brilliant. They have a natural way with one another and it is good to see them work together, even though the characters are at opposite ends of the spectrum. Davies is adventurous and eccentric, whereas Carruthers is disdainful and entitled. Both actors bring out these necessary characteristics to their roles and do it with charm and style. The duo emerge as both likable and amusing as their adventures takes them into something that never saw coming. Jenny Agutter is beautiful and innocent as the daughter of one of the men suspected of being involved in the elaborate invasion and who captures the attention of Davies. Alan Badel makes the most of his role as the mysterious Dollmann, who is heavily involved in the huge plan.

So despite some shortcomings in terms of the pace and a longer than required running time, The Riddle of the Sands is jolly good fun for everyone.

The Man from U.N.C.L.E

Tags

2010's, Action, Alicia Vikander, Armie Hammer, Elizabeth Debicki, Guy Ritchie, Henry Cavill, Hugh Grant, Spy, The Man from U.N.C.L.E

Film Title

The Man from U.N.C.L.E

Director

Guy Ritchie

Starring

• Henry Cavill as Napoleon Solo
• Armie Hammer as Illya Kuryakin
• Alicia Vikander as Gaby Teller
• Elizabeth Debicki as Victoria Vinciguerra
• Hugh Grant as Alexander Waverly

A super slick and retro-tinged reboot of the 60’s television show brought to life by the great direction of Guy Ritchie, The Man from U.N.C.L.E is a stylish and delightfully light-hearted spy movie that will leave you with a ridiculous grin on your face because of the utter enjoyment and excitement there is to be had with it.

The year is 1963 and the Cold War is at its height. Suave and super cool CIA agent Napoleon Solo, who was once a former thief, manages to extract the beautiful mechanic Gaby Teller from East Berlin. Their attempt at this is only hampered by the interruptions of violent and hulking KGB agent Illya Kuryakin. Gaby is the daughter of a scientist who has been kidnapped and forced to help craft a nuclear bomb. With Gaby now seemingly safe for the time being, Solo is briefed by his CIA head about a dangerous new mission, with a very big and unexpected difference. All traces of this potential nuclear disaster point to a shipping company headed by the seductive Victoria Vinciguerra and her husband, who are both Nazi sympathizers. With their plan for the nuclear bomb, both the KGB and CIA are worried about the potential worldwide crisis it would bring. The two agencies agree to work together, and this is where the debonair Solo comes into contact once more with the taciturn and efficient Kuryakin. They are to work together to infiltrate the Vinciguerra company and rescue Gaby’s estranged father, along with acquiring his research for either government covertly. As part of the cover, the quick-witted Gaby comes along pretending to be the fiancée of Kuryakin. The mission, that takes them from Germany to Rome, is not going to be easy, especially because of the intense rivalry and dislike between Solo and Kuryakin. But soon enough, the mismatched agents see that they must put aside their differences and competitive nature aside in order to work as a team in order to avoid a world destroying plan, that is now dangerously in quickening motion.

From the opening of the movie with a groovy title sequence detailing the history of the Cold War set to a slinky soundtrack, you know that The Man from U.N.C.L.E will definitely be a delightful way to spend a few hours. Guy Ritchie directs with colourful exuberance, crafting this world of espionage as one of glamour and danger, which often intertwine. From the use of split-screen and unusual camera angles, Ritchie seems to be firing on all cylinders and this is for the better as it gives kinetic energy and well-timed humour to the proceedings. A quick fire script of blisteringly amusing one-liners and situations is an utter marvel and really delivers in the thrill department too. Costume design is suitably eye-catching and the sets recall the early Bond movies with luxurious mansions, castles and racetracks. A jaunty and adventurous score underlines the light-hearted, breezy atmosphere of the film, merging perfectly with well-chosen songs from the 60’s. You’d think that with all this visual splendour taking place that The Man from U.N.C.L.E would suffer in the story department. Thankfully, the plot of the movie retains interest throughout with its pastiche of spy action and mismatched buddy humour between the dashing Solo and moody Kuryakin keeping everything ticking over with panache. There will be those that will hop on the bandwagon and say that the movie is nothing but a show of excessive style, but I for one loved the style and thought that it complimented the movie, rather than hindered it.

Ritchie assembles a truly inspired and game cast who play their roles with such ease and charm. Heading this is the dapper Henry Cavill, whose smooth and cool as a cucumber personality make Solo a likable maverick style hero. Relishing the humour and equally adept with the physical stuff, Cavill shows that he has the requisite skill set to become a future contender for the role of James Bond. Equally as impressive is Armie Hammer, who uses his large frame and imposing stance to portray the violent and tough Illya. Yet he resists the temptation to just make Illya a massive brute and nothing else. He does this by infusing the character with a reluctant humour that is very funny as he begins to come around to the idea of working with Solo, who he holds deep animosity for. The wonderful Alicia Vikander( who is fast becoming one of my favourite actresses) is luminous and sparky as Gaby, who in the beginning comes across as just a quick-witted but very sweet pawn in the game. In reality, she is whip-smart and knows a lot more than she’s letting on. All of this, plus sparkling chemistry with the leading men, make the performance by Alicia Vikander a joy to watch. As the other female in the movie, Elizabeth Debicki is delightfully cunning and poisonous as the femme fatale with dangerous plans on her mind. And rounding out the cast is Hugh Grant, who has the necessary adroit humour and authority to play a spymaster, pulling many of the strings on the mission.

A colourful, amusing and thrilling spy caper, The Man from U.N.C.L.E is in a nutshell a movie that is full to the brim with wit, action and fun.

Spectre

Tags

007, 2010's, Andrew Scott, Ben Whishaw, Christoph Waltz, Daniel Craig, Dave Bautista, James Bond, Jesper Christensen, Léa Seydoux, Monica Bellucci, Naomie Harris, Ralph Fiennes, Sam Mendes, Spectre, Spy

Film Title

Spectre

Director

Sam Mendes

Starring

• Daniel Craig as James Bond
• Christoph Waltz as Franz Oberhauser
• Léa Seydoux as Madeleine Swann
• Ben Whishaw as Q
• Naomie Harris as Miss Moneypenny
• Dave Bautista as Mr. Hinx
• Monica Bellucci as Lucia Sciarra
• Ralph Fiennes as M
• Andrew Scott as Max Denbigh
• Jesper Christensen as Mr. White

It was going to be a hard act to follow the phenomenal success and acclaim that Skyfall experienced, but I’m happy to report that Spectre, the 24th Bond movie is excellently done and hugely entertaining on almost every level. Bringing back some of the classic formula that makes the series so enjoyable in the first place, Spectre scores high points.

We begin in Mexico during the Day of the Dead, where Bond is on an unofficial mission as ordered by the former M before her death. He is tracking an international criminal named Marco Sciarra who is planning to blow up a prominent stadium. Before he can do this Bond intervenes in typically bombastic fashion and gives chase to the mafia boss, ending up with the two of them battling it out in a helicopter slowly spinning out of control. Bond overpowers him and manages to claim his ring, which bears a curious octopus symbol. Meanwhile, back in London, the current M is under pressure when Bond returns because his actions play into the hands of ambitious Security Chief Max Denbigh. The cocky upstart has plans to rid MI6 of the 00 section, seeing it as old and outdated. Though disciplined by M to stay and not doing anything rash, Bond, enlisting the covert services of loyal Moneypenny and gadget man Q, travels to Rome to uncover more about the syndicate the Sciarra was part of. Through contact with the forbidden Lucia, who is the widow of Sciarra, he finds the meeting place. It transpires that the organisation is the nefarious SPECTRE, who are behind worldwide acts of chaos and evil. Most alarming of all is the fact that the head of it is someone from Bond’s past known as Franz Oberhauser. Travelling to Austria, where he encounters former enemy Mr White, who is dying and in his last moments gives Bond precious information, Bond is set for a globetrotting adventure that also takes him to Tangier. He is further aided by Mr White’s intelligent daughter Dr Madeleine Swann, as he unearths the full nature of the crime group and confronts his own past in a mission that gets personal and very dangerous.

Sam Mendes successfully returns to the director seat again and works marvels with Spectre. Sprinkling proceedings with humour, action and dangerous elegance, he captures the world of Bond with excitement and panache. I enjoyed seeing Mendes tipping his hat to some of the older movies in the series, specifically From Russia with Love and On Her Majesty’s Secret Service. Style oozes from the frames of this movie and special mention must go to the dazzling opening sequence. The sweeping nature of the tracking shot that begins the film is stunning and it burns itself deep into the mind for its skill, as well as the rest of the action-packed sequence that begins things with one hell of a bang. And I must give credit to the lovely cinematography that gives each new location on Bond’s journey a sense of dangerous atmosphere and international intrigue. Whether it be the burned oranges of shadowy Rome to the exotic golden sheen of Morocco, Spectre never fails to engage on a visual level. For all the visual grandeur, at least Spectre has a good script and story to go along with too. I liked the reintroduction of humour again and the way it was balanced with suspense. There really are some cracking one liners in here that will raise a chuckle or so within the audience, but there is still a grittiness within that is typical of Craig’s tenure as 007. Spectre feels very much like a Bond movie of old in style and content, though mixed with up to date agendas and technology. Thomas Newman provides a stirring and sweeping score that acts as a an excellent accompaniment to the adventure on screen and is not afraid to break out the outrageous bombast of old. Though the Sam Smith song for the movie has caused an ambivalent response, the orchestra heavy ‘Writing’s On the Wall’ fits stunningly into an unusual title sequence of octopus tentacles crawling over lovely ladies, fiery elementals caressing Bond and flickers of the past in shattered glass.

In his fourth outing as 007, Daniel Craig is excellent and really looks comfortable with the part. He still brings a level of seriousness to the screen, but it’s fun to see him be quick-witted and ruthless with style. In other words, Craig brings a new lease of life to Bond by combining both of these qualities and emerging successful. Largely seen in the shadows for the first half but once unveiled a slimy presence, a superb Christoph Waltz imbues the villain Oberhauser with a sinister charm and quiet sense of being the one pulling a whole lot of strings. Portraying the primary Bond girl Madeleine Swann, Léa Seydoux is sultry, intuitive and well-rounded as we witness her being able to handle dangerous situations and be able to analyse Bond. There is something very layered about the character and through the talents of Seydoux, they shine through. Ben Whishaw is a hoot as Q, given more material and working wonders with some splendidly written scenes with Bond as he risks his job to help him on his mission. Naomie Harris shines as Moneypenny, who also risks her job to help Bond and has a natural sense of humour about her. The hulking and silent credentials of Dave Bautista make for a suitably menacing henchman who tangles with Bond on more than one occasion. In a small but well-played part, the lovely Monica Bellucci plays a mob widow with a sense of melancholy and sexiness to her, who gives Bond some very important information regarding the eponymous group. Ralph Fiennes is great as M, who is not backing down from battling the forces that want to take away what he has worked for all this time. As the slick and brash Denbigh who has big plans and is thoroughly smug and condescending, Andrew Scott does a good job at making him really unlikable. And making a pivotal cameo is Jesper Christensen as former enemy Mr White who while dying after betraying SPECTRE, confides in Bond.

A well-shot, stylish and exciting Bond adventure, Spectre provides thrills and action that will leave you astonished and engrossed. I think it’s fair to say Spectre is a more than worthy follow-up to the amazing Skyfall.

 

What are your Favourite Spy Movies?

Tags

Spy

With Spectre out in cinemas and me going to see it on Monday, I had to ask a question about spies. The spy movie genre is filled with countless classics of danger, conspiracy and dark deeds. So the question is, which movie revolving around espionage is your favourite? Is it a Cold War tale? A technological thriller story? Bond or Bourne? Mission Impossible maybe? Or any other kind of spy movie you can think of? Whatever it is, feel free to share your opinion.

Duplicity

Tags

2000's, Caper, Clive Owen, Denis O'Hare, Duplicity, Julia Roberts, Paul Giamatti, Romance, Spy, Tom Wilkinson, Tony Gilroy

Film Title

Duplicity

Director

Tony Gilroy

Starring

• Clive Owen as Ray Koval
• Julia Roberts as Claire Stenwick
• Tom Wilkinson as Howard Tully
• Paul Giamatti as Dick Garsik
• Denis O’Hare as Duke Monahan

A devilish romantic spy caper, Duplicity is bolstered by the star appeal of Clive Owen and Julia Roberts. And while enjoyable and witty, it become too convoluted and complex for its own good, that seriously leaved you feeling a bit duped by the end. Still it does have a lot to be enjoyed, it just thinks it’s cleverer than it is.

Ray Koval and Claire Stenwick are both former agents; him for MI6 and her for the CIA. They now work as corporate spies for two rival companies, headed by the smart Howard Tully and the over exaggerated Dick Garsik who are constantly in competition and trying to get one up on the other. The thing is that Ray and Claire both have a past together romantically, as we see in flashback when their cases have crossed over the years. Yet both of them have a mutual distrust for one another because of the spy business and the playing of each other during these various encounters around the globe. Now, they both have a plan to con their respective companies for some major new product that could be super lucrative for each of them. This con that they plan to pull is extremely complex and tense as it could go very wrong if someone is caught. But with unease over trust and double crosses along the way in this dangerous game, who is playing who and will Ray and Claire’s personal feelings of sparky romance get in the way of the job in hand?

Now it must be said that Tony Gilroy contributes stylish direction Duplicity. Through split screens and visuals, he crafts an atmosphere laced with deception and humour. There is a lightness to his direction that ties in with the caper aspects of the tale. His script is slickly written and contains many a great scene of romantic banter and innuendo along the way. The wit is a clear highlight of the movie as it crackles between Ray and Claire whose relationship is mutually distrustful and doubting. Though I’m a big fan of twists, Duplicity ultimately goes overboard with them. Yes some of them come off as effective, but there really wasn’t any need for so many as it causes the film to feel cluttered. What should have really been a breezy film with a couple of double crosses becomes something of a muddled mess that could have been trimmed down. On a technical side, Duplicity at least looks great and has that old-fashioned feel of a caper from the 50’s or 60’s. A jazzy score, punctuated by exotic waves romance and cool suspense, manages to keep interest even when the story gets out of hand.

Despite the complicated nature of Duplicity, the cast assembled shines and brings a sense of credibility to it. Clive Owen does the smooth-talking, handsome guy shtick very well while bringing dashes of dry humour to the character of Ray. The chemistry he shares with Julia Roberts is electric and filled with sexual tension as the two dance a tango of uncertainty and passion. Julia Roberts also walks away with a great performance as Claire, who is smart, efficient and can be very calculating when it comes to the business.Tom Wilkinson and Paul Giamatti as feuding business heads have a clear hoot here and their distinguished presence is felt in the scenes in which they are present. The two guys are real gems of the supporting cast and their slow motion fight that covers the opening frames is comedic fare to say the very least. Denis O’Hare is on great form as another corporate spy involved with the dangerous game of cat and mouse at stake.

So it may be a slickly done spy film and boast some very engaging performances, I just wish that Duplicity hadn’t tried to be so overly clever because it really detracts from the good parts of the movie.

Quantum of Solace

Tags

007, 2000's, Daniel Craig, Gemma Arterton, Giancarlo Giannini, James Bond, Jeffrey Wright, Jesper Christensen, Judi Dench, Marc Forster, Mathieu Amalric, Olga Kurylenko, Quantum of Solace, Spy

Film Title

Quantum of Solace

Director

Marc Forster

Starring

• Daniel Craig as James Bond
• Olga Kurylenko as Camille Montes
• Mathieu Amalric as Dominic Greene
• Giancarlo Giannini as René Mathis
• Gemma Arterton as Agent Fields
• Judi Dench as M
• Jeffrey Wright as Felix Leiter
• Jesper Christensen as Mr White

Coming after the revamped success of Casino Royale, Quantum feels like a step down or two. I think that any film to follow a predecessor as good as Casino Royale would struggle, but whereas that film brought something new and exciting to the series, Quantum tries too hard to change parts of the formula that should be left alone.

With the death of Vesper and the full extent of her betrayal now known to Bond, he is a broken man, out purely for revenge at the death of her. The film opens with Bond, with Mr White in the boot of his car, being chased by the enemy along a mountain range of Italy. After successfully fending off the potential assassins, Bond brings the nefarious Mr White into custody, where M is waiting for him. White sneers at Bond and the secret service as he informs them that the organisation that he works for has people everywhere. Unfortunately, M’s bodyguard is actually a double agent and frees Mr White, before Bond chases him to his death. Enraged by the lack of knowledge of this organisation and at the end of her tether with Bond and his personal vendetta, M doesn’t know what to do to rectify this dangerous situation. Bond has different ideas and after hearing of a link to the organisation and motivated by revenge, he travels to Haiti. It is here that he meets Dominic Greene, a leading member of the Quantum organisation and environmentalist with evil ideas of power. Also in toe is Camille Montes, a vengeful young woman infiltrating Greene’s inner circle to come into contact with a corrupt Bolivian general. Camille wants revenge for her family’s murder and when she meets Bond, the two both realize that they are both on the same mission to avenge loved ones. The two of them travel from Austria to Bolivia in an attempt to bring Greene’s plan to seize the water supply of Bolivia to a stop. But with distrust at every corner and revenge on his mind, can Bond really get it together to pull through and stop the plan before it is too late?

What immediately gives Quantum of Solace an underwhelming quality is the kind of editing used. With quick cuts and shaky cam a plenty, it’s like the director thought that they should try to emulate the Bourne series. I’m all for some of the frenetic editing, but it truly becomes a drag on the film and detracts from many effective scenes. Marc Forster tries to bring more grit to this movie, but instead makes it uncomfortable and way too bleak. I get that the revenge arc is in play here, but it takes a backseat as the film jumps from place to place without any real certainty to speak of. The whole scheme of Greene stealing the water supply is supposed to bring in a sense of growing paranoia but quickly becomes a bore. And the locations of the Bond film are usually a highlight but because of the drab nature of the film, there is no glamour or stunning locales to admire. Thankfully, David Arnold brings a touch of the old style to the musical score and gives Quantum of Solace a much-needed sense of purpose and panache. The same can’t be said of the main song, ‘Another Way To Die’ sung by Jack White and Alicia Keys. Putting the two musically opposite stars together seemed like a good idea at the time, but the end result is a forgettable song that doesn’t impress at all.

Daniel Craig brings intensity and darkness to Bond, showcasing the breaking of his heart and the severing of his morals. It’s a shame the overall film isn’t that memorable, as Craig puts in a great second performance as this bruised 007. Olga Kurylenko gives wounded strength and deep vulnerability to the role of Camille, who sees Bond as something of a kindred spirit as they are both out for revenge. What is refreshing in Quantum of Solace and a rare bonus is that there isn’t a romantic tie between the two that gets in the way of their personal mission; they are both clearly on the same track down the path of vendetta to rid themselves of the emotional ghosts haunting them. Mathieu Amalric definitely hits the right notes with the slimy and reptilian nature he brings to Dominic Greene, but as a villain he isn’t really that great and his scheme isn’t one that will linger in the memory. Giancarlo Giannini reappears as old contact Mathis but is criminally underused, which in turn undermines his tragic fate in this movie. Gemma Arterton gives appropriately terse and businesslike assurance to her role as a consulate agent tasked with returning the avenging Bond to England who plays by the rules of her job description but is persuaded otherwise by Bond. Judi Dench brings stern authority and power to the part of M, who this time worries that Bond is purely motivated by revenge, and not thinking straight in his mission. Jeffrey Wright once again plays Felix Leiter, who this time helps Bond but is cynical about the business he is mixed up in. Jesper Christensen, although only seen sparingly, brings that sense of intelligent menace to his role as the sneaky Mr White.

Underwhelming and not really involving, Quantum of Solace is a Bond film in desperate need of that extra something to bring it to life.

Casino Royale

Tags

007, 2000's, Casino Royale, Caterina Murino, Daniel Craig, Eva Green, Giancarlo Giannini, James Bond, Jeffrey Wright, Jesper Christensen, Judi Dench, Mads Mikkelsen, Martin Campbell, Spy

Film Title

Casino Royale

Director

Martin Campbell

Starring

• Daniel Craig as James Bond
• Eva Green as Vesper Lynd
• Mads Mikkelsen as Le Chiffre
• Judi Dench as M
• Jeffrey Wright as Felix Leiter
• Giancarlo Giannini as René Mathis
• Caterina Murino as Solange
• Jesper Christensen as Mr White

With Pierce Brosnan retiring from the role of 007 in the disappointing Die Another Day, the Bond producers had to recast the role for Casino Royale, which served as something of a reboot to the series. Daniel Craig was chosen to play the part and he brought to it a gritty and more vulnerable quality for his debut as Bond. Casino Royale presents a return to classic espionage and intrigue, which makes it one of my favourite films in the 007 franchise.

For the first time in the series, Bond is shown before he acquires 00 status. This makes him more of an interesting character who can be hurt and does suffer from certain weaknesses. After quickly receiving his 00 status by killing two targets, Bond is assigned his first mission by his boss M. Travelling from the sweltering humidity of Madagascar to Miami, Bond is on the tail of an unseen terrorist organisation. The key to the organisation is one Le Chiffre, a financier who supplies them with what they need. Le Chiffre is merely the middle man, who is just as much under pressure as Bond is to discover the plan. Having thwarted a bomb attack on a Miami airport, Bond begins to unearth the nefarious scheme. The aversion of the attack has caused Le Chiffre to lose a lot of money and his superiors have him marked for death if he can’t recover the money. Desperate, Le Chiffre sets up a high stakes poker game at Casino Royale in Montenegro. Bond is assigned to watch him and play the game. Aiding him is Vesper Lynd, a British Treasury Agent with a tough exterior, the rogue informer René Mathis and CIA agent Felix Leiter . As the games go on and the limit is raised, loyalties begin to shift and the concept of trust begins to wither. Despite trying to keep a professional distance, Bond falls deeply in love with the beautiful Vesper, but with his dangerous job and distrust all around him, Bond learns that in this world no one can be trusted, not even those who you are closest to.

Casino Royale immediately grabs you with the classic feel to it, as the atmosphere of exotic mystery and deception take a hold of the characters. Having helped usher in Pierce Brosnan as Bond in GoldenEye, Martin Campbell successfully completes this with his stunning direction that breathes new life into the franchise and establishes Daniel Craig as a more brutal but damaged Bond. It is refreshing to see Bond as not invincible and how despite his strength, still has issues with trust and pain. There is a definite emotional undercurrent to Casino Royale, which is highlighted by the love between Bond and Vesper. We can see that Bond genuinely cares for this woman and would do anything for her, but how this is the relationship that breaks Bond and changes him into the character we know today. Suspense is kept in tact, especially during the poker sequences in which Bond and Le Chiffre lock horns and try to call each others bluff. While there is very much a dramatic and sensitive undercurrent to this Bond film, Casino Royale doesn’t shortchange the audience on action. From Bond chasing a skilled free runner enemy to a brutal staircase battle, Casino Royale delivers a harsher and bleaker sense of violence that had been missing from some of the predecessors and not seen since Timothy Dalton’s dark turn in Licence to Kill. David Arnold delivers some of his best work with a doom-laden, thrilling yet also tenderly romantic score that epitomizes the film down to the ground. Chris Cornell’s song “You Know My Name” is a successful revamping of a Bond title song, with rocking guitars and slashing strings adding both a classy and hard-edged sound.

Stepping into the shoes of Bond and putting his own stamp on the character, Daniel Craig certainly delivers. He brings a brooding, taciturn side to the character as well as a sense of deep vulnerability and wounded ego. Whatever questions people had about Craig in the role before, he proved them all wrong with his stellar performance. The gorgeous Eva Green makes a deep impression as Vesper Lynd, one of the best Bond girls in my opinion. Green gives passion, sadness and mystery to this ever-changing changing character and invests her with outer strength and inner pain. She truly stands out as an intelligent match for Bond and one of the only women to really get close to the more vulnerable side of Bond. Mads Mikkelsen gives slimy, cornered fear and withering menace to the character of Le Chiffre. Unusually for a villain, there are times when we feel for him as he is stuck in the middle of a dangerous situation and trying to break out. Judi Dench once again gives authoritative command and hardened strength to the role of M, who is often exasperated by Bond’s unorthodox methods but can’t hide the fact she trusts him with what he is doing. Jeffrey Wright makes for an opportunistic and charming new Felix Leiter, while Giancarlo Giannini is superb as the informer with shifting loyalties. Caterina Murino is suitably sexy but doomed as one of the ladies who gives Bond information but pays the price with her life. Jesper Christensen brings a creeping sense of danger as a man in the shadows on Le Chiffre’s track.

Intriguing and emotionally gripping, Casino Royale brings the Bond series back to life with a defiant and effective kick that restores the gold-plated status of the series.

And as I’m feeling generous today and I know that many ladies follow my blog, here’s a picture of Daniel Craig in those famous trunks. Please don’t fight over Daniel ladies as he is needed for the new movie in one piece.

Die Another Day

Tags

007, 2000's, Colin Salmon, Die Another Day, Halle Berry, James Bond, John Cleese, Judi Dench, Lee Tamahori, Pierce Brosnan, Rick Yune, Rosamund Pike, Samantha Bond, Spy, Toby Stephens

Film Title

Die Another Day

Director

Lee Tamahori

Starring

• Pierce Brosnan as James Bond
• Halle Berry as Jinx
• Toby Stephens as Gustav Graves
• Rosamund Pike as Miranda Frost
• Rick Yune as Zao
• Judi Dench as M
• John Cleese as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

Just like Roger Moore did in A View to a Kill, Pierce Brosnan signed off as 007 in a film that wasn’t his best. That film is Die Another Day, which ranks as my least favourite Bond film. It is a shame that Brosnan should sign off in such a bad way, especially after the brilliance of GoldenEye and his other ventures as Bond. People may say that Tomorrow Never Dies and The World Is Not Enough are nothing special, but in comparison to the barely tolerable Die Another Day, they’re masterpieces. Anyway, back to my eventful review.

We start out with Bond in North Korea, infiltrating a military base run by the renegade Colonel Moon and his loyal friend Zao, who has been trading mass arms for conflict diamonds. Unfortunately for Bond, his cover is blown by someone in the West and he has to engage in an explosive battle with Colonel Moon, which presumably leads to his death. Bond is then captured and tortured for fourteen months. After his time in captivity, Bond is eventually swapped in a prison exchange for Zao. Bond knows that someone within his government betrayed him and is determined to find out. M, on the other hand, revokes his licence to kill for fear of political ramifications and that Bond has cracked and given away potentially dangerous information. 007 has different ideas and escapes from MI6 custody on a mission to track down the enemy and Zao, who has also escaped his imprisonment. Travelling to Cuba, he meets the seductive Jinx, an American agent who can ably handle herself and is also after the escaped Zao. Their trail leads to a nefarious gene therapy clinic, that can alter a person’s entire DNA. Bond surmises that Colonel Moon is in fact not dead and has taken on a new identity. That identity is one Gustav Graves, a playboy, entrepreneur and philanthropist. Supposedly a respectable businessman, his real plans are far from good as Bond soon discovers. Always with Graves is his aloof publicist Miranda Frost, who is an undercover British agent. From sunny Cuba to the cold of Iceland, Bond uncovers the full extent of Graves and his plan. With a specially designed satellite, he will cut through the border between North and South Korea, so that the North can invade. Yet Graves isn’t alone in his plan as the mysterious Miranda is in fact on his side and double-crossing Bond at every turn. With the sultry Jinx in toe, Bond must derail this plan before full on war erupts.

Now the main problem with Die Another Day is that it is far too focused on the action and not enough on the story. The opening is promising, but the rest of the film descends into mindless chaos and shoot them up action that is really out-of-place within the Bond formula. Yes, some of the action is good, with a fencing duel that soon turns nasty quite thrilling, but non-stop becomes too much and just not that enjoyable in the end. Lee Tamahori in the directing seat doesn’t help as he can’t bring anything new to the film and give the story anything of worth. He relies on too much slow motion and rapid cuts that start out as alright, but become monotonous in the long run. There is not sense of balance to the story and no amount of endless action can make up for that. Also, I don’t mind it when Bond films have references to the older films of the series, but Die Another Day goes overboard with this tactic and the end result is needless. There are some positives, albeit only some that give Die Another Day some value. The locations are pretty spectacular, with the Ice Palace owned by Graves a particular highlight of production design. David Arnold once again provides a classy score that gives Die Another Day some sophistication, interspersed with the non-stop action and some dodgy CGI( need I mention that wretched invisible car)? The less said about Madonna’s title song the better. Anyone who follows this blog will know I’m a fan of Madonna, but her contribution the series is one of the worst. It detracts from the brutal title sequence of fire and ice girls inter cut with Bond’s torture in North Korea and for that alone it is unforgivable.

It is such a shame that Pierce Brosnan signed off from the franchise with Die Another Day as his swan song. He really brought something good to the role and managed to balance the physical challenge and the wit. His performance here may not be his best, but we still buy him as Bond and still watch as he attempts to save the world again during his mission. Halle Berry is sexy and feisty as fellow agent Jinx, who is nifty in a fight and more than a match for Bond in terms of the innuendo stakes. She has great chemistry with Brosnan and their passionate as well as thrillingly dangerous encounters are well-executed to say the least. Toby Stephens may nail the smarmy and power-crazed personality of Gustav Graves, but as a villain he just isn’t that interesting to watch and he doesn’t join the gallery of iconic foes for 007. Thankfully the talented and stunning Rosamund Pike is on hand to give the role of the icy Miranda some dimension, as we watch her play Bond effortlessly because of her glacial beauty, icy demeanor and taciturn deception. Rick Yune is not used well enough as henchman Zao, who has diamonds embedded in his face after the opening encounter with Bond. He may have an interesting look as Zao, but he just doesn’t cut it because of the poor development of his character. At least we have Judi Dench who magnificently portrays M with authority, grave knowledge and a hint of pride for her top agent. John Cleese on the other hand is not that convincing as gadget master Q. No one was ever going to replicate the success of the late Desmond Llewelyn, but I just can’t take Cleese seriously in the role of Q. Samantha Bond and Colin Salmon are seen too infrequently to really register this time around as Moneypenny and Robinson.

Too much action and not enough plot scupper Die Another Day and this makes it one of the worst movies in the Bond series, my least favourite as well as a poor final outing for Pierce Brosnan after the potential of his previous movies.

 

 

The World Is Not Enough

Tags

007, 1990's, Colin Salmon, Denise Richards, Desmond Llewelyn, James Bond, Judi Dench, Michael Apted, Pierce Brosnan, Robbie Coltrane, Robert Carlyle, Samantha Bond, Sophie Marceau, Spy, The World Is Not Enough

Film Title

The World Is Not Enough

Director

Michael Apted

Starring

• Pierce Brosnan as James Bond
• Sophie Marceau as Elektra King
• Robert Carlyle as Renard
• Denise Richards as Christmas Jones
• Robbie Coltrane as Valentin Zukovsky
• Judi Dench as M
• Desmond Llewelyn as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

Pierce Brosnan’s third outing as 007 after previously playing the spy in GoldenEye and Tomorrow Never Dies comes in the form of The World Is Not Enough. Occasionally muddled and a little uneven, it does boast some great sequences, serious drama and interesting characters to keep the interest of the audience for its run time and have some fun with. I mean it’s definitely better than the movie that followed.

In the beginning of the film, Bond manages to retrieve money stolen from Sir Robert King, an oil tycoon and old friend of his superior M. Upon returning the money to MI6 headquarters, disaster strikes as King is killed by money that has been dipped in an explosive. Bond then gives chase along the Thames after a sexy assassin who tries to kill him and then proceeds to commit suicide rather than inform Bond of who her boss is. The attack is traced to Renard, a prominent terrorist and former KGB agent who had previously kidnapped King’s daughter Elektra. Renard has a bullet lodged in his skull, that will eventually kill him but has now rendered him unable to feel physical pain and will allow him to grow stronger until his life expires. Bond believes that with the death of King that Elektra will be the next target for the terrorist. Worried about this and for Elektra, M reveals that she advised King not to pay his daughter’s ransom for fear of negotiating with a terrorist. Feeling a sense of guilt, she sends her best man to watch over the oil heiress who is overseeing the building of an oil pipeline in Azerbaijan. Bond feels immediately protective over Elektra, who appears to be traumatized and vulnerable by her kidnapping ordeal. Yet while investigating Renard and his activities, Bond’s suspicions are aroused by Elektra, as he senses she is concealing something sinister behind her vulnerable appearance. His suspicions are proved right as Elektra is indeed in league with Renard and plans on creating a nuclear disaster in the waters of Istanbul by exploding a stolen nuclear bomb which will benefit her oil supplies and business personally and powerfully. Crisscrossing from Baku to Kazakhstan and eventually Turkey, and with the help of buxom nuclear scientist Christmas Jones and former mob boss turned valuable ally Valentin Zukovsky must battle his way through danger to stop Elektra and Renard’s revenge.

The first thing to notice about The World Is Not Enough is an emphasis on drama that hasn’t really been seen in the Bond movies before. There is something developed about many of the characters and it is interesting to see them as two-dimensional people in a dangerous world. Admittedly, some of the drama does come off as more than a little muddled and underdeveloped. But director Michael Apted manages to bring a fresh dynamic to the series and stamps his own style on the movies with assurance. Apted also brings in his typical fashion the powerful and layered women to the forefront of the story, especially in the form of Elektra and an expanded role for M. Even though the mix of drama and action in The World Is Not Enough can be a little jarring, when both camps score, they score very highly to create some excellent Bond worthy moments. The boat chase on the Thames blasts the film into exciting motion and really stands as a definite action highlight, alongside a thrilling ski chase and a dangerous encounter with a bomb speeding along a pipeline. Having the bullet in Renard’s head slowly kill of his pain receptors but increase his strength is an intriguing idea but to be honest it doesn’t really add as much to the plot as it thinks it does and comes off as a rather wasted opportunity. The locations used are sublime with the heat of Kazakhstan and the nighttime glamour of Istanbul exceptionally realized. David Arnold returns for his second Bond score and delivers a stunning piece of work that accentuates the themes of distrust and betrayal. Alternative rock band Garbage provide the eerie yet sensual title track that is an exemplary sonic accompaniment to the languid title sequence of lovelies formed from slithering oil and fields of pumping oil derricks.

Pierce Brosnan brings his charm and smarts to this outing as 007, and he is allowed to show a lot more seriousness than before which proves highly effective given the drama in the story. We manage to see the more ruthless side to Bond in this adventure which is always interesting to watch. Sophie Marceau is on fine form as the duplicitous Elektra and fully embodies the capricious nature of the character. Elektra can be vulnerable and weak one minute and then ruthless and crazed the next, all of this is down to the successful performance of the intriguing Marceau. Because the character of Elektra is so well written, the part of the other villain Renard suffers. Robert Carlyle does bring an intensity to the part that is most befitting, but the underwritten nature of the character sadly short changes him. Denise Richards may be one gorgeous woman but her acting in The World Is Not Enough as a Bond girl is poor. She plays Christmas Jones, a nuclear scientist who helps Bond after Renard steals a nuclear bomb. But to be perfectly honest about her, the character is just so ridiculous and superfluous. I mean she looks curvaceous, athletic and sexy as hell in her Tomb Raider style get up of revealing tank top and hot pants, but when she starts talking about the dangers of nuclear weapons and scientific properties, it is really hard to take her seriously at all. Returning after his role in GoldenEye, Robbie Coltrane brings humour and assurance to the role of Valentin Zukovsky, who has supposedly become a legit businessman but still occasionally dabbles with crime. Judi Dench gets a more expanded role as M this time around and gives the extended part deep emotion and heart as she wrestles with a sense of personal guilt over her handling of Elektra’s kidnapping ordeal. Desmond Llewelyn appears for the final time as beloved gadget master Q. In a sad footnote, Llewelyn died after the premiere of this film and although his last scene with Bond wasn’t planned, when he says goodbye to Bond it is filled with a very deep poignancy that is hard to shake off. Llewelyn was truly part of the Bond fabric and his contribution to the series is a testament to his excellent talent. Samantha Bond and Colin Salmon are once again on hand for the parts of Moneypenny and fellow agent Robinson.

Muddled and sometimes jarring, The World Is Not Enough may not be perfect. But with cool action, beautiful locations and many of the actors performing excellently, it is a pulse-pounding spy yarn to say the very least.