No Time to Die

Tags

007, 2020’s, Ana de Armas, Ben Whishaw, Billy Magnussen, Cary Joji Fukunaga, Christoph Waltz, Dali Benssalah, Daniel Craig, James Bond, Jeffrey Wright, Lashana Lynch, Léa Seydoux, Naomie Harris, No Time to Die, Ralph Fiennes, Rami Malek, Spy

James Bond finally returns to our screens after many setbacks and pushbacks on release date owing to the pandemic. In No Time to Die, we say goodbye to Daniel Craig as 007 and he signs off with a fantastic, bold and unexpectedly emotional movie.

James Bond(Daniel Craig) has left MI6 and is travelling with his lover Madeleine Swann ( Léa Seydoux )in Matera . Yet his past as a spy comes back again as he is ambushed and attacked by Spectre goons. It becomes apparent that Madeleine is hiding something that could be deadly and Bond feels betrayed by her secrecy, making him part ways with her as he suspects her of leading Spectre to him . Five years later, Bond is in Jamaica attempting retirement when old friend and C.I.A Felix Leiter(Jeffrey Wright) turns up wanting help. It appears Valdo Obruchev( David Dencik) , a scientist working on something very important and deadly has been kidnapped from a covert MI6 base. Bond is reluctant to get involved but does so anyway out of a sense of loyalty to Felix who has helped him out many a time. Along the way Bond encounters the confident agent Nomi( Lashana Lynch)who has taken up his mantle of 007 in his absence. It appears both the C.I.A and MI6 want something from the mysterious Orbruchev and both are working seemingly against each other to get it. The thing in question turns out to be a biological weapon that was secretly being developed off books with clandestine input from MI6. Eventually, following leads in Jamaica and Cuba, Bond returns to MI6 as the case leads back to Blofeld( Christoph Waltz)who he captured in Spectre . The project Obruchev was working on was powerful if harnessed by could prove deadly on a global scale. Aided by a regretful M(Ralph Fiennes), who was the one who started the questionable biological weapon project , computer/tech wizard Q(Ben Whishaw) and the ever loyal Moneypenny (Naomie Harris) Bond attempts to figure out what is happening . But it appears the real enemy actually has a bone to pick with Blofeld . This enemy by the name of Safin (Rami Malek) has his own agenda for kidnapping the scientist, who himself is rather shady in the long run .Things turn extremely personal when Bond once more encounters Madeleine, who has some link to the evil Safin and definite secrets that are waiting to be revealed with far reaching consequences . The stakes are truly raised higher as Bond hunts down this sharp enemy intent on a warped idea of world domination and destruction

Cary Joji Fukunaga provides us with a Bond movie with a difference, while retaining in his artistic vision, the things we all love about this iconic franchise . No Time to Die is extremely stylish and props must go to the gorgeous cinematography that’s by turns beautifully bright or moodily dark in accordance with the shifting settings and unravelling of story . Fukunaga’s direction is also on point in this regard and how it backs up the story of twists and turns with a human heart at its core. He’s a fantastic choice of director and his self-assured stamp is all over No Time to Die. As a huge Bond fan, I appreciate various nods to previous adventures and also how daring and how it’s one of the more emotional of the films, akin to On Her Majesty’s Secret Service and Casino Royale in that regard. This is a film that might polarise fans as it does some things in a manner not expected in a Bond film and boy is there a lot to unpack throughout. But in a way I think that adds more to the film and makes it stand out quite boldly. Time will tell what the fandom truly makes of No Time to Die, but my thoughts are that it’s a strong movie indeed . And as I’m a kind reviewer, I will not delve into major spoilers here and I’ll let movie goers go in with nothing to ruin the film. No Time to Die is also a rather haunting film with many a creepy moment . But then it also has dashes of humour and thrills you always need in a Bond flick  . It has all the ingredients you’d want from a Bond film and tinged then with moments of unexpected horror and tension, such as a spooky opening of Madeleine’s past, grisly death via biological warfare and a nail biting scene in the misty woods of Norway . And the action is still at a high level of enjoyment with the intense ambush scene involving leaping motorbikes and a well armoured car in Matera and Bond and Felix attempting to escape a sinking boat being standouts. Sometimes the exposition gets a bit full on in some stretches and lags a bit, but for a film that runs nearly three hours, it goes by relatively quickly and smoothly . A strongly stirring, thrilling and emotive score by the reliable Hans Zimmer further adds to the excellence of this film as it charts the action of the piece while keeping something personal too. We are also treated to a moody and unusually title sequence that takes us on a journey through the history of the series and features prescient imagery of time, DNA and destruction. It’s all done in artistic fashion and set to the brooding title song by the talented Billie Eilish .

In his last outing as James Bond , Daniel Craig gives a truly complete performance that has many layers. He’s still got the magnetic aggression and killer instinct that we know, but he is also extremely good at the one liners and the beating heart of emotions at the centre of Bond. He’s really owned this part and his last performance doesn’t disappoint as it’s full of feeling and delivered with commitment. Léa Seydoux provides enigmatic presence and tangible sadness as Bond’s love interest, who has her hands tied in a way that throws everything into a tailspin. Her reserved manner and chemistry with Craig are fine assets to No Time to Die and form the main backbone of it. Rami Malek, though I don’t know if I’d rank him as the best Bond villain ever, still has his moments and he does nail the creepy and insidious nature of Safin. He at least has a slithering presence about him which is saying something whenever he appears. Swagger and confidence in action and ability come in the form of Lashana Lynch as the new 00 agent on the block. Whip smart, sassy and always wanting to succeed, Lynch is a fine addition to the film and her witty banter plus prowess in combat are very much on show. The regulars of MI6 in Ralph Fiennes, Naomie Harris and Ben Whishaw are all stalwart and contribute well to the proceedings. Ralph Fiennes in particular stands out as M who is coming to rue his actions.

Making the most of small screen time but lighting it up with cheeky humour and coltish physicality is the stunning Ana de Armas . Portraying a fledgling agent who is eager to please and both funny and lethal in equal measure, she’s a delightful addition to the film and has a ball with her standout sequence in Cuba . It’s also good to see Jeffrey Wright again as who boasts a contribution of humour and realisation that bounces well of Daniel Craig. We’ve not seen them on screen together since  Casino Royale and Quantum of Solace , but the relationship established there is present once more here. David Dencik and Billy Magnussen make for a slimy duo of turncoat agent with a cheesy smile and slippery scientist  who provide a collective thorn in Bond’s side. Christoph Waltz is also used well in a brief reprisal of Blofeld; his alert eyes and calm yet eerie demeanour wonderfully used to chilling effect. And on henchman duty we have the intense Dali Benssalah, complete with a newly fitted scanning eye who isn’t afraid of a vicious dust up with Bond.

A Bond film where there is a lot to unpack and with a feeling of something different, bold and creative , No Time to Dis makes sure that Daniel Craig signs off in style as 007. I shall miss him as everyone’s favourite super spy but I’m happy that No Time to Die provides him with a fantastically eventful and daring final outing.

Black Widow

Tags

2020’s, Action, Black Widow, Cate Shortland, Florence Pugh, O.T. Fagbenle, Olga Kurylenko, Rachel Weisz, Ray Winstone, Scarlett Johansson, Spy, Superhero Film

A stand alone film for the Avenger character from which this flick takes its name, Black Widow is thankfully not just another in a long line of generic superhero movies. Instead it has enough action to please die hard fans and depth/story to thrill those new to the character. Plus, a stylish look and a game cast truly make Black Widow something special and definitely what I call a thrilling film.

We begin with Black Widow/Natasha Romanoff (Scarlett Johansson) from authorities for actions committed while she was an Avenger and hiding out in Norway, aided by resourceful ally Rick Mason(O.T. Fagbenle) . Out of nowhere she is sent an antidote by someone she hasn’t seen since childhood, her “sister” Yelena(Florence Pugh) . It transpires that they were raised by “parents “ in Ohio while they acquired intel as spies. Later both girls were taken for training in the Red Room, where they ended up separated but highly skilled in combat. It was controlled by the cruel and power-crazed Dreykov(Ray Winstone) who Natasha believes is dead but is in fact alive. The two women, who were raised like sisters , have animosity towards each other at first which begins to thaw once the true scope of what they are fighting comes into view. It transpires that the legion of Black Widows that are from the Red Room are controlled via sinister means like a chip in the neck that renders the wearer completely under the power of another. Yelena was exposed to the antidote which broke the control over her before she went rogue. There is also a being by the name of Taskmaster , who can mimic the movements and skills of others who is in search of the antidote to bring it back to Dreykov. After breaking their surrogate “father” Alexei( David Harbour) out of jail where he has been still trying to capture his glory days as a hero, Natasha and Yelena meet up with their “mother” Melina(Rachel Weisz), who also has important information having worked for years as a sleeper agent. It’s going to take all of their resources to take down the powerful and his brainwashed ‘Black Widows’ so it’s all hands on deck in this fight to avert global disaster courtesy of Dreykov and for Natasha to atone and learn from her past.

I’ll admit that I’m not what you’d call the biggest fan of Marvel Movies . But I know enough about them to pass muster and have some understanding of them. I’m not opposed to the films as I find them quite entertaining, I’ve just lost count of how many there are. To be honest, while a bit of knowledge is good, Black Widow stands well enough as a stand-alone feature and you can go in uninitiated . Director Cate Shortland shows a skilful talent for blending kinetic action, snippets of humour and set pieces with a story boasting more depth that just your standard superhero movie . If anything, although definitely boasting tropes of a superhero film, it also functions as a cracking and twisty espionage thriller with more than a little sprinkling of Bondian greatness. Being a huge Bond fan, seeing various nods here had the inner geek in me thrilled and I’m sure it’ll do the same for the audience who sees this action packed movie. Keep an eye out for the sequence in which break out of a snowy prison. To say it’s epic is an understatement as it’s so outrageously entertaining . Shortland is clearly a director who has a handle on things and keeps Black Widow flowing to stunning effect. A slight sag in pace can be forgiven in a film like this that sweeps you along with action and surprising depth. Black Widow is also very stylish to look at, especially in the action sequences and a grainy, snappy title sequence of being indoctrinated into becoming set to the sound of a haunting cover of Nirvana’s “Smells Like Teen Spirit”. And speaking of music, a grandiose and thundering score of action, peppered with Russian chanting, is another highlight in a stellar production that surprised me in how much I enjoyed it.

The cast is where it’s at when it comes to Black Widow. Scarlett Johansson can play the part in her sleep, yet she still displays various facets that are new and revealing. Whether it be in the action scenes or emotional moments of attempting to reconcile her past , Johansson is nothing short of fantastic at shading her part and providing backbone to an already popular character. The always watchable Scarlett Johansson is what I’d call perfect casting having played the part for so long and continuing to impress us. Ably backing her up and burning up a storm is the ever talented Florence Pugh portraying sister figure Yelena . Pugh nails the feisty, foul mouthed and quick witted Yelena while showcasing a buried resentment and hurt at realising that her past was so controlled and not what she thought. As a result much in the same way that Johansson explores Natasha , Pugh crafts a multi-layered character in Yelena that you truly root for. It helps that both actresses convince as sister figures slowly regaining trust after being separated for so long. The chemistry between the two is evidently strong and a valuable asset to the film. David Harbour provides much in the way of laughs as the washed up superhero dad to the two leading ladies. He’s comically endearing as a character and Harbour finds the genuine feeling of pathos beneath the clownish exterior. Rachel Weisz adds layers of complexity to a woman who seems sightly cowardly yet warm in the beginning before revealing a vast intelligence and ruthless determination. The wonderful Weisz makes every moment she’s on the screen count with her performance. O.T. Fagbenle provides nice support as a loyal friend and helper to Natasha, who trades good quips and witty banter along the way. The only people who get somewhat shortchanged and not given that much to work with are Ray Winstone and Olga Kurylenko. Both do what they can with their roles, I just would have preferred a bit more of them and more material for them to work

A thrilling superhero/spy-action film of great performances, twisty story and oodles of style, Black Widow is what I’d define as high powered entertainment and a film that has something for everyone to enjoy.

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?

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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.