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I'm more inclined to follow @Birdleson's suggestion it's the horrid writing of her role that makes it impossible. I agree that many lines are cringeworthy and only prove P&W are the worst dialogue writers in history. 'Or are you here just for a glimmer?'. She's absolutely not the best actress in the world, but she certainly has had some meorable roles (starship troopers, wild things).
As a 19 y/o at the time though, I was happy she was in the film... ;-)
I'm going to dogpile like everyone else, **** TWINE!
Possibly, but I get a kick out of the kicking that TWINE gets on these forums daily.
Plus, I'm not averse to reading the criticism and negativity towards it. I may disagree and find the negativity to be overblown and overstated but I still respect others opinions enough to acknowledge them.
Would hardly call them unpopular, but I am not arguing against those posting negativity towards TWINE. Everyone is entitled to say whatever they want on these forums, just making light of it and how overstated it can be.
I really like David's work on the Bond films, but he is no John Barry, I don't think any of the composers have been able to match him.
I agree. I have seen Bond fans be almost enraged that Zimmer is doing the new score and not Arnold. I mean... come on! Arnold has done a decent job on some Bond films, but he is not such a guru. Other qualified composers deserve a go at it, especially someone like Zimmer.
Funny thing is that during 1997-2008 this wouldn’t have been a controversial opinion! It’s only now so because we have a whole new generation of fans that grew up with the Arnold scores and developed a strong affinity for them, so there are now much more vocal Arnold enthusiasts than there used to be back in the day.
Usually, I like his scores until we get to the climax, then he gets all chaotic and extremely noisy to the point cues like Submarine, Antonov and Fall of a House in Venice lose all sense of melody.
Casino Royale is David Arnold's greatest contribution to the franchise, IMO. The reason being that they clearly wanted to keep the use of the Bond theme to the end of the film. I find that he overuses the theme in most of his scores. The Bond theme loses it's novelty if it's overused, IMO. I much prefer Erica Serra's Goldeneye score to anything Arnold has produced.
+1
Perfectly summed up.
The Goldeneye score is underrated, nice to see some appreciation for it. Diversity can be a good thing.
How do you feel about Michael Kamen's score for LTK? I'm a big fan.
Never had a problem with it. I think the Gunbarrel in Licence To Kill is one of the best in the series and that comes down solely to Kamen's score.
Barry was an expert in creating a distinctively different sound for each of his scores, Arnold got that right in QOS but not quite during the entirety of his other Bond films. Mind you, not bad or anything, just not very distinctive.
TWINE (yes, I'm piling on as it's appropriate) was the start of a series of soundtracks with less distinctive and more generic beats which continues to this day with especially people like Newman. CR and QoS had their moments - Parts of African Rundown almost rank with Barry and especially when the Cornell theme is incorporated. But I recall listening to CR in the car on a long drive and not even realizing it was still playing at certain points. I've revisited SF and SP numerous times to try to find something and just can't.
I never liked his gunbarrel music until DAD.
Agreed. The gunbarrel music shouldn't be arranged like that as it loses all it's power.
Having said that his scores have all been excellent. CR and QoS are the epitome of what a Bond score should sound like.
That's a big call. I'd argue that On Her Majesty's Sceret Service, Thunderball and The Living Daylights by John Barry are the epitome of what a Bond score should sound like, but each to their own!
You misunderstand my post @Octopussy
I was talking explicitly about Arnold. Of course most of Barry's scores were also the epitome of what a Bond score should sound like. He was the Bond sound.
Ah! Then I agree with you, ha! Casino Royale and Quantum of Solace are Arnold's best work in the franchise. The others are repetitive and lack imagination, IMO.
TND is the work of a man who has just landed his dream job and is aware he may never get another shot. After the eclectic GE, that score packed such a huge punch on the big screen.
Surely that can't be controversial! I mean I know DAD has its defenders here and some might even like something about its gunbarrel, but overall saying you dislike one aspect or another of DAD you'll find a lot of people in agreement.
I also thought his TND soundtrack was excellent.
I do not like it very much at all (with a couple exception tracks) his scores for TWINE and DAD.
I am mixed-to-positive on CR's score, which I think is overall his least ambitious and therefore inoffensive. I like it just fine.
But TB is the best in terms of scope and demonstrating all that makes 007 amazing.
Out of Connery's Bond movies this one is my personal favourite. It has the best location, the best action, and the best women. It's also faithful to the novel. IMO it has no flaws.
Hear hear!
TB is also my favourite Connery, representing Bond at his most archetypical best. Sir Sean, the locations, an eye-patched villain, the definitive femme fatale, the jetpack, the DB5, scubagear action, John Barry score, Ted Moore cinematography, Ken Adam sets, unseen Blofeld, Leiter and the lovely Domino. Everything truly falls into place in this one.
Agreed. It’s tough for my ranking because I recognize FRWL is probably the most well-done, at least of the Connery films, but TB is such an amazing Bond film experience. I feel like it delivers a perfect blend of novel and movie Bond (FRWL + GF). It seems to be generally thought the first 3 Connery films are the best, and while I can totally understand that, TB deserves to at least be acknowledged more alongside them. It gives me the most joy of Connery’s outings and currently has the #3 spot of my overall ranking.