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Comments
Give me different editing, and QoS might be a top-level Bond movie. But this way, it's really barely mediocre, or less.
The difference here is that they used that technique in a sweeping classic Bondian context, using a classy Aston at Lake Garda rather than a Lada in Moscow.
Agreed. I hardly watch CR to the end anymore. I'm pretty much done after Le Chiffre bites it.
I believe I read that this was intentional, in order to finish the film on an uplifting note as the audience leaves the theatre. I think it was Hunt's idea. They pretty much did something similar, but in a more drawn out way, with the CR epilogue (Bond, James Bond).
Maybe, but I really think it's an unnecessary sequence - and a boring one as well. Just a way to shoehorn an obligatory action sequence, as @ToTheRight writes above.
Naturally, I disagree.
A pre-Haggis draft had Vesper leave a video confession for Bond to view. This could have been intercut with Bond's reactions, flashbacks from Vesper's perspective and revised ones from Bond's, etc. Better in my view than having Vesper die in a gimmicky action sequence.
Not unless that involves diluting every setpiece from the book. Interminable poker (a game Bond never plays) instead of baccarat, a torture sequence with a quip-happy instead of broken Bond, Vesper getting snuffed in the amazing sinking house, and a happy ending with Bond catching the bad guy instead of the shocking bitterness, humiliation, and fury of the very last words. Judged strictly as a movie CR is pretty good; as a Fleming adaptation I found it a letdown and inferior to OHMSS or GF, films that really did improve on the books.
"The bitch is dead now."
The ending could have had more destruction of London. For example, Blofeld decides to take out several London buildings in his attempt to kill Bond. Most superhero films have lots of property destruction so it's nothing new in action films but Blofeld could have gone completely nuts and decided to destroy part of the Thames, perhaps Parliament, Big Ben.
They did.
On the yacht, when Bond is talking to M, going through Vespers things.
I don't think so. More melodramatic perhaps, more gratuitous, but the point shouldn't be the tragedy of her death, but the sting of her deception - hence "the b×tch is dead".
I think there is something very potent about Bond finding her after it's too late, and piecing it together in his mind.
Can't agree on everything.
Remove the phone call with Moneypenny and have that happen after.
Keep Hinx but also add some more cars chasing after him. Hard to believe that no one else went after. Throw 3-4 more cars with some machine gun fire.
Nope just decided to film two dancing cars at 1 A.M and thought hmm this will suffice.
As I mentioned in an earlier comment, Bond hardly looks like he's in danger in that sequence - which hardly offers anything else than a few nice shots of the city. That would have changed if Bond was outnumbered, having more bad guys chasing him, making the sequence more tense.
Very hard to believe indeed. Bond has just crashed the meeting of a supremely powerful criminal organization--and what does it do in response? Send a single car after him. Pathetic! The old Spectre would have sent a fleet of autos, an army of assassins on vespas (this is Rome after all) and motorcycles, and would have had an inside man with the police send several squad cars too. The entire city should have been against him, and the chase should continued after Bond junked his car. I wonder if the chase was originally downsized after the film's budget went out of control.
…and yet they managed to make the worst car chase ever, IMO.
In the novel yes, but that would be flat on screen.
They should be called to the Hague for a war crime Imo.
Huh?
Car crime?
But then again yes; it is lacking, when compared to Bond action of yore in two ways:
1. Organic, plot-driven action that hides any setpiecing could and should return. While Bond is actually not that flawless at this pursuit as a whole, when Bond action scenes flow naturally from plot, driven by earned tension, they sing. When the feel like its time to get our money's worth for what we invested in the Brocolli stage at Pinewood...it then produces a tacked on, artificial feel. Contrast the timeless success of mere train car fisticuffs in FRWL to one of the largest ever filmed blow-it-ups in SP.
2. Probably impossible in our current/Craig era...but not impossible forever...but a Bond movie could re-embrace the classic/self-aware satiric action that makes some scenes evergreen, even if not impressive per se. This isn't easy, as its what made the SP Rome car chase suffer, while it allows the TSWLM Sardinian car chase a smile-producer to this day.
So, in conclusion Bond action does not lack when compared to MI's. It lacks at times when compared to Bond, though.
Again, perfect.
And once again, perfect.
Look, I love Brosnan's movies, especially TND, but Bond, REAL Bond is not an action hero. He's that agent ripping the lining out of his pockets to keep his hands from freezing or that agent using his shoes to keep from being electrocuted... he's an idea guy that uses intelligence first, and *CAN* be physical when necessary....
The Rome car chase is dull. Nothing happens apart from some pretty naff humour. They are two gorgeous looking cars but the chase has no real threat or menace.
The plane chase is well filmed but its such a stupid idea. What was it exactly that Bond was trying to achieve? By sheer luck he destroys all the cars and Madeline somehow survives.
A the same time the PTS is just brilliant and the train fight is one of the best fight scenes in the series.
The brief shootout at Blofeld's crater isn't bad but yet again there's little danger and Bond kills all the guards like he's playing a computer game.
And the finale is atrocious. Probably worst in the series.