James Bond

New distributor. The films will continue to be produced by Eon. Sony's US distribution contract is up.

Well, about things that really matter, creating a personal connection with the villain, a traditional and iconic villain at that is some kind of a risky move. And as it came, the whole evil plain feels like petty jealously.

edited 8th Nov '15 4:20:23 PM by JusticEqualsVengeance

The personal connection didn't enrich the story though, if anything it cheapened the story by making a villain the narrative wanted to be grandiose, come across as petty.

Petty's not bad, Roal Silva benefited from it as a character trait, but this time it was in conflict with what the narrative wanted the villain to be.

I finally got to see it, so, here's my review/thoughts (for those who haven't seen it yet, it's spoiler-heavy). If it's too much text (it probably is), let me know and I'll put it in the review section tomorrow:

The intro, with its setting in Mexico City during the Día de (los) Muertos, was fairly well done, and a nice choice - it is a great event, after all. I felt it was slightly more exciting than the intro in Skyfall, in spite of the helicopter sequence being a bit too long. The killings of the guy in the white suit and the others were good as a starting point, and Bond showed good reflexes when that block collapsed.

The title/intro credits sequence... ok, let's go by parts. I really liked its structural nods to On Her Majesty's Secret Service (with the recaps of some of the relevant faces from previous movies). It's also fairly dark and ominous, which continues the theme from Skyfall. The octopus CGI was well done, though the part where the tentacles embrace Bond and the girl really makes some of us think of tentacle porn/hentai. The appearance of Bond within a title sequence is not really a frequent thing, and it felt a bit like something out of a perfume ad, but, thankfully it avoided becoming narm-y.

However, I really don't like that song. I felt it didn't matched the mood of the sequence, and those falsettos (or quasi-falsettos) didn't help. It brought the quality of the sequence down a bit. I also think the theme was a bit too rushed, and could have been performed by someone else better (think Shirley Bassey or a Shirley Bassey-style singer).

Now, when it comes to the investigation process, it had to go at length to avoid the planned reestructuring process/merger. More on the latter in the next paragraphs. Anyway, Bond's journey to Rome was necessary, though I don't think him seducing Monica Bellucci for the sake of information was a bit too... tame, I think. And very pre-planned. I understand that her being a trophy wife (now widow) of Sciarra was a bit of a nod to a previous role by Monica (iirc), and, more importantly, that she didn't love him and was pretty much constrained to playing a typical trophy wife role while he was alive... but come on, Bond, seducing a widow into sex right after saving her? It felt a bit too forced (even if it was necessary to advance the plot). I also think it was tame, since, uh, we barely got to see her... figure, her... contour lines. She's billed a bit too high, mostly because... well, she's Monica freaking Bellucci. Lucky Bond, as usual.

Now, the process of merging MI 6 and MI 5 could have been done well, but... did the script really needed to mention the NEW WORLD ORDER? I mean, the global surveillance plot is fairly logical (since it continues the theme in Skyfall of new forces working in the shadows and all), but mentioning such a tired expression and making superficial criticisms and appraisals of democracy felt a bit too cliché to me. To some this might sound like a nitpick, but, if the movie was trying to bring a politics angle into it, it didn't explored it well and with the nuance it required (though, yes, I know, nuance is something one shouldn't look for in a Bond movie).

C/Max Denbigh is the sort of shady bureaucrat figure who's good friends with politicians who were his schoolmates (typical British school system...pfff). For a figure who's supposed to be a visionary and a highly competent guy, he kinda failed (and obviously so, as M pointed out) in his supposed job of keeping an eye out on Bond, M and company (he probably used that eye to admire the interior design of the new building, which is very clean, modern and fancy). Seriously, he talks about the "00" program being pre-historica and drones and stuff being all the rage, yet we don't really get to see any drones or sophisticate surveillance devices being shown, besides the computers? Anyway, the psychological battle between him (new guard) and M (old, semi-old guard) was fairly decent, though I think it was fairly clear right from the start who was gonna win out.

Now, back to the scenes in Rome. The meeting of SPECTRE and its setting were more sophisticated than the original metting back in Thunderball (iirc), with more of a corporate type of setting (even if there were a fair few people in the upper floor - after all, gotta make sure this is still a terrorist/criminal organization). The terrorist angle is well exploited here, with its efficient coordination in terms of targets to ensure the configuration fo the Nine Eyes process of making the top intelligence agencies share data and analysis, and a steady control of it.

The presentation of Mr. Oberhauser and the replacement of the elite mook with Batista (wrestling fans probably liked his performance here, which was all-fight and no-talk). His killing method is good, and intimidating. He also, naturally, has a strength that may remind one of Oddjob or Jaws (though he isn't as imponent was - also, RIP, Mr. Kiel. It has been more than a year since his passing). The ensuing chase sequence between Bond and Batista in Rome was great, though I think the Vatican closes its doors at night, so I dunno how the heck did they manage to get so close to the Basilica of St. Peter - also, no guards in sight, which is inaccurate, I think.

The scenes in Austria were fairly interesting, since we got to see Mr. White's dialogue and imminent death (and then suicide), as well as Bond's interaction with his daughter (Dr.) Madeleine Swann (played by Léa Seydoux - holy crappola, she is gorgeous! - especially in her scenes in Morocco). The promise Bond did to him was a bit too predictable (putting the gun in front of him was a bit obvious), and the interrogation she did to him at the clinic was basically 'Skyfall Interrogation - Pt. 2: Freudian Boogaloo' (more on the Freudian stuff later), but that was compensated with Q's appearance and especially the chase sequence involving the plane and the two cars after Madeleine was kidnapped.

We then move on to Tângier, Morocco, and the L'Americain hotel Mr. White used to go to - family stuff I don't need to go into in detail, though I'll say it does provide a solid background to Madeleine and her personality. Her drunk scene was a bit daft, though at least Bond didn't seduced her with her in that state, which was a good decision by the writers. Their fight scene with Batista was fairly good, with the right amount of tension - also, Batista, like in his wrestling days, is not afraid of hitting a woman. His death scene was kinda amusing. And then Bond and Swann pretty much fuck (though only the make-out stuff is shown). Hide your widows, hide your daughters, because Bond is seducin errbody out here!!

And then we have the meeting between Oberhauser, Swann and Bond. Now, all three share in common the death of their fathers, and it provides a "reunion" (in Oberhauser's own words) which is rife with freudian subtext. If the writers had focused on this angle right from the start, and left the political stuff aside, I think the movie would've been better. The shared background of Bond in his early teenage years and Oberhauser does provide an interesting springboard into the continuous exploration of Bond's past, and the dead people who are 'alive', as it said in the text before the scenes in Mexico City began. I mean, we have a Big Bad whose intense jealousy over "Parental Favouritism" led him to basically have a pathological need to destroy anyone who made Bond happy/safe/experienced (starting with Oberhauser committing patricide, and then being responsible for the deaths of Vesper Lynd, Judi Dench!M and others).

The amnesia/torture process Oberhauser (who reveals himself as Ernst Stavro Blofeld - ^note fine performance by Christoph Waltz, with the amount of non-hammy villainous acting necessary for the movie being provided - also, the general lack of ham is a plus for this movie (Silva had noticeable ham in Skyfall) was well played, and with so much tension I acutally feared for Bond a bit - the device used is fairly creepy as well. The way Bond gets out of this was well done, with Swann showing genuine love for him and having the skills to throw the exploding watch. (Btw, fuck yeah Blofeld's cat!) A shootout and escape ensues, and subsequent explosions ruin Blofeld's research plant and his right eye.

The climatic stuff, back in London, while showing MI 6 can always keep some degree of secrecy from other government agencies, also allow for an elaboration on the continuous struggle between the old and the new, the past and the future (even though the stuff about democracy said by C was a bit too cliché). The methods used to stop Bond and M are quite lame, though. Again, C is not really great or efficient. The final dialogues between Bond and Blofeld (at the old MI 6 building and near the Parliament) finally set in stone the rivalry between them (and establishes the 'license not to kill' M mentioned to C in an earlier scene), and I think there will be something involving them in one of the future movies (hopefully with Waltz reprising the role).

Overall, while this one wasn't as great as Skyfall, I think it was fairly solid, in spite of its flaws (the politics angle, the song being clearly many steps below the other one). I'm also glad they finally tied the loose strings generated by Quantum of Solace. Also, it's interesting (and good) to know Moneypenny has a sexual life of her own (ok, that kinda also happened in GoldenEye, but you get the point), rather than making her continuously fawn over Bond like the old movies used to do. Craig's performance was good, Waltz's was better, Seydoux's, Whishaw's and Fiennes' were competent, though I think Bellucci was very underused and a bit too predictable - she's done the hot widow type before, btw, and there wasn't much fanservice from her (whether that is a plus or not, I'll leave it up to you.

I'd rate this 3.5 out of 5 (Skyfall got either a 4 or a 4.5 when I wrote the review of that one here).

I hope this review hasn't bothered you (or made you feel bored, btw). Is it a good one, or did I miss anything important, or did I got something wrong? Also, I have two question for those who have seen it:

1. The meteorite dialogue between Bond, Blofeld and Swann. What was it meant to be, you know, the whole 'unstoppable until it stopped/crashed in Morocco'?

2. At the end of the movie, Bond doesn't kill Blofeld and leaves with Swann. What do you guys think? Will she be just another Girl of the Week or will she occupy a particular place in Bond's life, and impact Bond's psychological profile in future movies (alongside Tracy and Vesper - especially Tracy, considering the mythology gags of OHMSS)?

EDIT: Done some editing.

edited 8th Nov '15 8:10:41 PM by Quag15

You guys take this shit too seriously. This was classic Bond redone, and a great time.

Now that the attention is on Craig!Bond movies, I'd like to point out how Elvis from Quantum of Solace is an interesting antithesis of a typical Bond film main henchman: Instead of having a cool Red Right Hand and a memorable end, Elvis only has that stupid toupee and he gets randomly blown up when he is supposed to confront Bond.

edited 10th Nov '15 9:26:13 AM by erforce

The detonation of the Spectre base at the desert crater has apparently earned a Guinness Record for being the single largest film explosion of all time suck it, Michael Bay

edited 10th Nov '15 7:27:07 PM by LE0Night

No need to strike the Michael Bay mention. The making of makes it feel a bit underwhelming, but, remembering the movie, it was a very impressive explosion (and well coordinated), probably thanks to the post-production sound editing and the amount of area said explosion covered. So, kudos to the crew.

edited 10th Nov '15 7:30:41 PM by Quag15

The previous record holder actually was Michael Bay, curiously enough. The "air raid" sequence in Revenge of the Fallen was the largest explosion ever caused in a movie.

Anyone get the feeling SPECTRE's Morocco lair is more in line with their facility in Diamonds Are Forever as opposed to the one in You Only Live Twice?

edited 11th Nov '15 6:25:12 AM by HallowHawk

After Skyfall (I know, I know. Obvious XD), I could totally see Bond being bisexual, though Lord knows the Internet would explode with cries of BUT HE'S NOT MANLY, or some such nonsense along the lines of Mad Max Fury Road. But much worse.

But I do kind of buy it after Craig's nonchalant sorta-flirting with Silva.

Also...I wouldn't say Severine was raped. Yes the script choice was questionable and creepy, but she did consent in the end. I like to thin he asked for permission and a room key off screen before hand. Pipe dream, I know XD

edited 11th Nov '15 12:58:45 PM by Sisi

Well, I think that either: a) Bond is bisexual and heteromantic; or b) he's hetero, but he'll do a guy or another 'for Queen and country' (we all know he did a fair few women for the same purpose, after all).

@On Severine: I still can't make up my mind on what really happened there. It is an ambiguous situation.

edited 11th Nov '15 1:39:41 PM by Quag15

I know for a fact that Bond/Trevelyan is a pretty commonly shipped pairing.

They did say they used to share conquests.

Now, you can have a MMF threesome without any homosexual desire, but at the least it confirms that Bond is not repulsed by male sexuality.

Saw the movie. Did that feel a lot like a lesser version of Captain America The Winter Soldier to anyone else?

Not only are the SPECTRE and HYDRA logos extremely similar (which is presumably coincidence, as an octopus is a pretty common symbol for an organization with fingers in every pie), both have the evil organizations using terrorism in order to get intelligence agencies to expand their surveillance/attack capabilities. Both have the evil organization infiltrating global intelligence networks in order to take them over and use those new capabilities for their own ends. Both have the protagonist hunted down by their own organization, and both have the protagonist's allies confronting the corrupted head of their organization (C and Pierce, respectively). The broad strokes of the plot are essentially the same.

I say "inferior" because SPECTRE had some major plot issues, especially with Blofeld deliberately taking Bond to his super-secret base and telling Bond his plans in detail. One of the worst examples of Bond Villain Stupidity I've seen, and the insertion of petty personal motives as justification doesn't prevent Blofeld from looking like an utter moron. All he needed was to not bring Bond to his base, or just straight-up shoot Bond, and the plan would have gone off perfectly.

On a lesser note: did anyone else take the "And now we know what C stands for" as Getting Crap Past the Radar?

edited 11th Nov '15 7:01:51 PM by Galadriel

Keep in mind that the SPECTRE logo had already appeared in 1965◊ (in Thunderball, even if the modern ring is a bit different from the 1965 ring).

We all did.

edited 11th Nov '15 7:09:58 PM by Quag15

I honestly think a Bond movie that outed Bond as bisexual would have the exact same result as the Archie Comics gay wedding.

Also, the HYDRA logo was actually inspired by SPECTRE's, so there's that.

I assumed it was deliberate, and added the trope entry as soon as I saw the film for that reason. The entire theatre I was in erupted in laughter. Then again, "Cunt" is a common insult here in Scotland, and the word is so common it's even used sometimes as a compliment. That Beat before the explanation only confirms it.

So. Just saw the movie.

It was decent, though not as good as Skyfall.

I loved Madeleine Swann though. Am I right in thinking that she might be the new Tracy or is that just hopeful thinking on my part?

I thought she was going to be Bond's daughter (which I think would have been pretty interesting to see), so the direction she went was pretty weird for me.

Okay Bond film, though.

I also had that thought (see my review above). Which makes me wonder about how a possible appearance of hers in the next movie will play out.

edited 12th Nov '15 7:27:21 PM by Quag15

So I just saw Spectre today. I'm honestly surprised by all the Hype Backlash because I honestly liked it. I'd rank it below Casino Royale and Skyfall, but I still thought it was a good movie.

The Reaction is actually reminding a lot of into Darkness.

I was ready to crucify Lea Seydoux's performance because her Wolverine Publicity annoys me to no end but she was good. I liked the movie, I can't say where it ranks compared to CR or SF but it had some strong points - and it felt like a classic Bond, what with the bad guy's ID and lair and traps.

I was more pissed off at the amount of screentime that was probably left in the editing room that involved Monica Bellucci.

Léa Seydoux's performance was good, so, it would be nice to see her in the next movie. If her character is supposed to be as important to Bond as Tracy or Vesper were (but not in the same way, naturally).