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I saw both of them about a 10 days ago, so I'll keep this short. 3 words: Timothy. Friggin Dalton. What a total badass. From the TLD PTS with that awesome techno beat from Barry, to the breathtaking tanker chase in LTK, Tim Dalton totally owns the screen. He may not have the charisma and triple-star level of Connery and Sir Rog, but his intensity and pure badassery is awe inspiring. For 4 hours, I can just sit down, relax and enjoy Dalton be a force to be reackoned with.
I'll post the pic again:
Thank you for being so awesome, Mr. Timothy Dalton.
Timothy Dalton is an outright BOSS!! B-)
Now you speakink ma langwedge.
I just don't know why I keep trying with this one, I'm never going to like it. I read all of your comments and constantly doubt myself. Maybe there was something I missed? Something I never got? I'm pleased to see that some of you like the film, but I don't and I can't apologize for that.
One quick thing I want to mention. Spectre's score is compositionally less effective and less engaging than a good number of James Bond video game scores. It is actually insulting and flat out unacceptable. Thomas Newman needs to be relieved of his duties immediately.
Seriously, right now.
It is my favourite Moore film and #5 overall on my list. There has always been something about this film that makes me love it more and more every time. Funny, because Moore doesn't really have to do much in this film. I mean he only fires a gun once. Its extremely easy for me to love, but hard for me to explain why.
It puts an interesting spin on a Bondathon, noting all the outfits, lines, tiny glances, etc. that you enjoy or dislike. I may have to give that another try some day, I don't believe I did it for all of the films.
These are great fun to read, I hope you decide to do this.
Interested to read that about SF as well.
I believe it might be in this thread, but it's probably way back sometime last year. June-Julyish, maybe? I really can't recall when I did those. Damnit. Now the prospect of doing it for all the films sounds great. Might be doing another Bondathon.
Yes,do it! Start over. The reason I mentioned SF is that it is also directed by Mendes and so many here seem to hate one and love the other. It is really strange imo.
Enjoy my slow descent into madness, everybody. Here we go:
- Starting things out right. The gunbarrel has been missed.
- While I liked it initially in theaters, the text sort of kills the GB momentum. Wish it had just panned into the first shot.
- Day of the Dead, great concept for Bond. Costumes and extras and everything look wonderful, albeit rather colorless.
- Marco's outfit and introduction is pretty cool, as is Bond and Estrella's.
- Not very crazy about the score here, but the trumpet kicking in as Bond enters the hotel is nice.
- Craig sashays a lot in his walk lately. Used to be very cool and confident looking, but now it's overdone.
- I like the concept of pulling off a "one shot" scene, but reviews amped this up way too much, considering it's stitched together in three separate areas and isn't technically one.
- "Shame. We barely got to know each other." I spent more time reading interviews with Sigman than I did watching her character on screen. There's one Bond girl wasted, just one to go!
- The rooftop shot is well done, but holy hell, do we really start to see just how uncomfortably tight his suits look in this.
- I like this moment, pursuing a henchman over rooftops to eavesdrop on a meeting, picking up crucial information along the way. Nice touch.
- Took me forever to realize that they notice Bond because his laser shows through the smoke of the cigar.
- 91% sure my ears bled after that explosion happened during my second viewing of this in theaters.
- CG isn't the worst here; when the building falls, yes, but as it crumbles, it's not too bad.
- The very short bits of parkour are nice. Took a while for me to warm to the couch gag. Christ, that suit is way too tight.
- The quick shot of Bond eyeballing Marco after they reach the streets has him looking like he's a model on a runway. Not a very threatening look.
- Foot chase is alright, albeit dull. Look at all that smog and pollution.
- For some reason, Craig's "mad/on a mission" faces he makes in the PTS look borderline pouty. Never had an issue with Craig as Bond until this movie, where I'll have a lot of complaints.
- There are a few cool shots and moments throughout the helicopter fight, but a lot of the green screen work gets old.
- Marco Sciarra is down with a CG fall. Helicopter pilot, too.
- I do enjoy the score as the helicopter goes up and floats back down to the ground. Barrel roll is very cool, too, glad they managed to pull it off.
- Title sequence: has its moments, big improvement over SF's, but a bit too melodramatic and all over the place at times. Kleinman has this pressing need to hint at upcoming scenes with his title sequences. It's like a more depressing version of the 'Mission: Impossible' title sequences.
- Theme song: I'm one of the 18 or 19 people that enjoy it, it's pretty good. Note: I didn't hear a second of the song until I saw it in theaters for the first time, which probably helped.
- Uh-oh, Bond's in trouble and M doesn't trust him! Thankfully they went with a new plot device this time around...
- Angry Bond buttons his outfit up angrily.
- Had high hopes for Andrew Scott in this, but a predictable, unnecessary role, I feel. Movie would've benefitted from getting rid of this whole C/Nine Eyes plotline nonsense.
- "That all sounds lovely." = "I couldn't care less." Love it.
- Bond's home! It's been a while.
- Craig unnecessarily throws something in every one of his movies, I've noticed. The box containing the personal effects is SP's.
- Did Bond expect Moneypenny to question him, leading him to show her the video from M, and that's why he invited her there? Seems like a rather large assumption of his, as there's really no other point for him to not take the box and have her bring it to him later.
- When M realizes that the first five names were released on YouTube in SF is when she makes the video they watch here.
- After the video, Craig's acting in the rest of this scene is great.
- Franz's face is conveniently burned away, as if you didn't see the Waltz/Blofeld twist coming from 10,000 miles away.
- Tanner's happy to help fill in the little details that nobody really cares about. Pointless in the last few movies, sadly.
- "So that's C's new digs?"
- "You've met him, have you?"
- Now, this literally makes no sense: it's a joke of a title that Bond gave to Denbigh in front of M. What, did everyone hang out by the water cooler later and crack jokes and tell everyone to start calling Denbigh "C"? How would Tanner have any idea that "C" is Denbigh? Stupid.
- Q's Lab: very nice. Hopefully we can get a proper lab in the near future, so we can get a proper Q scene.
- "Smartblood/microchips"...this same thing happened to Bond in CR. Why not just leave it there instead of trying to make it sound super smart and scientific?
- "I completely understand." *massive grin*. I like that it throws Q off entirely.
- "M's idea?"
- "Precisely."
- It was M's idea to order Q to give him a watch? "Give Bond a watch, that's probably why he's late, he has literally no other way of figuring out what time it is!"
- The bit of score that plays during the office scene where MP receives the phone is great.
- I was totally confused by the theft of the Aston Martin initially: I thought that when Q warned him about the alarm, he was warning him about the alarm to the lab, hinting at him breaking in overnight and stealing the car. So I was pretty confused when Q got to the lab in the morning and seemed surprised.
- The score + Bond's entry to Rome is incredible. Some very lovely shots there.
- Speaking of Rome, this is where most of my enjoyment in the film comes from; here, or Morocco. The entire funeral scene is great; hearing the replay of the 'Skyfall' track is the only time I like Newman re-using the score, and it works just as well and ominously as it did in SF. Blofeld's very slight head turn as Bond looks puzzled is terrific.
- "Can't you see I'm grieving?"
- "No."
- I like Bond waving at the bad guy.
- Lucia's arrival at her house, all the way up to Bond saying "Time for a drink," is incredible. The opera music in the background works very well.
- Random, but I've noticed a lot of symmetrical shots in this movie. I don't know if that's just something random I've picked up on for SP or if it's a staple of Mendes' that I've never noticed before.
- Bond throwing the drinks down seems over-the-top and dumb to me. His acting here suffers for me again.
- His "Bond. James Bond" line is the only thing I like here. I don't feel the chemistry between Craig and Bellucci at all. Oh, and speaking of her...
- Wasted Bond Girl #2. She gets a few more minutes than Estrella, but they chuck her away pretty quickly, too.
- Mendes can fit Leiter's name into this overstuffed movie, but not Wright in the role?
- "Buona fortuna, Donna Lucia." Love it.
- Only realized two or three weeks ago that this building that Spectre meets at in Rome is actually in England?
- Sashay Up The Stairs, Pt. 2.
- Hello, Tom So!
- It's a shame Bond can't just lock the doors and burn that bad boy to the ground.
- Okay, Blofeld's introduction: wonderfully well. Quiet, cloaked in darkness, everyone shuts up and immediately stands up upon his arrival, he obviously has quite a level of power if he has someone to move the microphone closer for him like that, and his nonchalant "Don't let me interrupt you" is a nice touch, as well. Off to a good start.
- Alright, so Guerra is taking Marco's position; "there won't be any more amateurs, no weakness, I'm awesome," whatever. So, Hinx is introduced in a quiet, brutal way, I like the entrance he receives. But damn, it would've been nice to see someone who I can only assume is talented like Guerra at least try to fight off Hinx. He takes his death like Joe Civilian would.
- I always thought Hinx was checking his hands to see how steady they were after the kill, which was a cool concept, until I realized he just checks them for blood...as if they wouldn't be covered in it.
- "Welcome JAMES." The way he delivers it is odd, and not as threatening as it was in the trailers.
- "Cuckoo." The repetition and "emotion" that's supposed to be behind the statement, I suppose, does nothing for me at all. Gets old quick.
- Two supercharged, beautiful cars in a night-time chase in Rome: it's going to look beautiful.
- Now damnit, the streets have quite a few cars on them as soon as the chase starts...where does everyone go after a while? I know it's late, but it's Rome. It turns into London in the beginning of '28 Days Later' real fast.
- 009's music blaring and Bond going "Noooo!" had me dying in theaters. One of the funnier scenes that Craig has.
- It upsets me that the absolute zenith of damage in this chase is the top of that car getting torn off. Pretty lackluster.
- Why doesn't Bond pull down one of the many alleyways/streets that he passes instead of worrying about how slow this old fart is going?
- Casual phone conversation about MP's lover as Bond engages in a barren chase.
- "Of COUURRSEEEE, Mr. White!" *pouty head nod* One of the worst lines in the movie.
- Bond and Hinx tearing onto that main drag as the orchestra picks up and the choir gets higher-pitched, I won't lie, is a great moment. It's just such a shame that there wasn't more to this scene; I don't mean in running time, I just wish it had more substance. I can't believe how much money went into something that's rather dialed back and tame.
- CG Hinx is literally some of the worst CGI I've ever seen in my life. It's also the stuff made of nightmares.
- Plot twist: Bond hits 'Air,' and it turns the A/C on and does nothing else.
- His "Good evening" line and smile is excellent.
- Google Translate is garbage for me, I need whatever it is that MP has: highlight super old newspaper articles, and voila, instant, perfect translation.
- This is where we start focusing on the likes of Q, Tanner, and MP too much, and honestly, if all this C/Nine Eyes/lack of trust nonsense was taken out, they would've been dialed back much more, I feel.
- I like Bond investigating White's, particularly the part with the birds.
- Bond spots the camera, and he knows that Spectre knows where White is located...why not delete the tape before you leave? Would've solved all your problems.
- Excellent scene between Bond and White, especially due to Jesper's acting. Craig overacts a little bit at times.
- White's so weak he can't even pull the hammer down with one hand, another nice little touch.
- I don't like this M/C scene inside the new building, either. They couldn't make it any more obvious that C is a villain. I suppose they intended for that, though, as his reveal as a bad guy is nothing special or grand.
- Greeeeeeeat, now we get to hear the "Of course, Mr. White!" line once again, as if once wasn't enough.
- "You watch MI6 agents?"
- "Well...yeah."
- Hinx is smarter than Bond; should've destroyed those tapes!
- Not only are those blinds in Swann's office see-through, but they only go down halfway. What's the point?
- "Franz Oberhauser is dead and buried."
- His body was never found...
- Q's got balls in this scene, showing Bond who is boss.
- "Bolas, 007."
- "No. Stay!" I love that, too.
- Bond's outfit looks a little goofy here, but it's the least of my issues, as this is one of my two least favorite parts of the film: the Austria chase. Also, this initial villain that's watching Q looks so evil, it's a shame this is the only screentime he gets.
- Another good bit: 007's cheerful salute as he pulls alongside Hinx's vehicle, just to angrily whip the pistol out and start firing.
- I do like that they give Hinx two unique weapons: his double-barreled pistol (that rips holes in that plane) and his sharp nails he can slip on.
- Even after how much I don't like this chase, it feels anticlimactic with the music stopping and he sort of galavants out of the airplane and shoots that final guy nonchalantly.
- A little bit of Bond manhandling a woman, something you don't see too often anymore.
- These are the other collection of scenes I enjoy the most: what we get in Tangier. Both Swann and Bond look great here, too, especially 007's outfit.
- Note for the dinner scene on the train that takes place later: Bond just saved Swann's life and she wants nothing to do with any of his sexual advances here.
- She sounds so not-drunk that I didn't understand why she was talking about "two Jameses" before the French she utters to herself.
- Beautiful nighttime/CG shot of the area.
- The dialogue between Bond and the fake mouse is a cool moment.
- It seems that there's no doorway of any sort leading into this hidden area of the hotel room, so how did it come to be, and how did White access it?
- "I want to understand what happened to my father."
- He got involved with some bad people (which is why you began ignoring him in the first place) and he got killed over it.
- Also, do the coordinates lead straight to the crater? I just don't understand how Bond knows to take the train to that location and wait since someone will definitely come to pick him up.
- Hello, MGW.
- MP's slight lunge at C makes me cringe.
- Another scene that could've been omitted: the all-empowering Bond girl who may or may not like guns, but is an expert marksman with one and is just as talented and knowledgeable about them as Bond. We get it.
- Still haven't confirmed it: this man that came to Swann's house as a child, is that Blofeld? He brings up visiting her house when she was a child later on, no way that's just a coincidence.
- This dinner scene almost comes across as an attempted second take of the Bond/Vesper introduction in CR, but it does nothing for me in particular, though for some reason, there seems to be some big connection between Bond and Swann, out of nowhere, that wasn't there a few hours prior. This was what I noted earlier: out of nowhere, she wants Bond more than anything. Didn't want him when he first saved her life, and she didn't seem to warm to him afterward, but after the Bond vs. Hinx fight, she's dying to have him.
- Speaking of, Bond catching Hinx in the reflection, and the omission of any score, helps make this a great fight. This is what I've been wanting since CR: a big sonofabitch that's going to put a hurting on Craig's Bond, and sure enough, this scene delivers, though I don't care for the fact that a few moves and moments throughout are ripped straight from other fight scenes in the series, including some other train scenes.
- Damn, Bond is getting his ass beat. Shame that pot of asparagus didn't lay Hinx out cold!
- Personally, I don't think Hinx is dead. I see him making a sort of Jaws-like return to put another beating on Bond in the future.
- The only time the theme song is featured throughout the movie, I believe, is when Bond and Swann first hook up?
- That overhead shot of the train as the sun is rising deep in the distance is beautiful.
- "What's that?"
- Uhh...that's a car.
- The Bond of late warms up to women and falls in love with them very quickly.
- If they dialed things down and had the finale here, this film would be much better, especially if they kept the sort of DN vibe it has going for a few moments once they first arrive; perhaps a good dinner scene or something. Alas, the meteorite room to tech room to torture room jump feels rather dull to me, and this is all a big wasted opportunity.
- Also took me a while to realize the goofball that greets them once they arrive is the same one that goes down in the helicopter with Blofeld at the end.
- We finally get introduced to Waltz as Blofeld, and for some reason, I just don't find him as imposing and threatening as I had hoped months and months prior. Like I've noted elsewhere, I feel like Waltz truly only delivers (aside from the rare film or two) when he's working alongside Tarantino.
- As previously noted, this tech room doesn't really do much for me: nothing noteworthy in the dialogue, no special moments, we learn nothing we didn't already know, and we're subjected to listening to yet another previous part of the film once again.
- Once you realize how the torture does absolutely nothing to Bond, it removes any and all intensity and suspense. Like someone mentioned long ago, this scene would benefit from Bond being completely whacked out of his mind, but still manages to use the watch to assist in an escape, thus leaving Madeleine to help him along while she holds off the bad guys at the same time.
- Spacing this out a bit, this harks back to the inconsistencies found in Mendes' work: messed up in the SF PTS, all but incompetent and in pain the entire movie, can't save Severine, but returns to being an expert marksman just 15 seconds later.
- In this, the first probe is supposed to mess with balance, hearing, and sight: does nothing. The second probe is supposed to make him forget faces, mess his mind up further, possibly incapacitate him entirely/kill him: does nothing, is an expert marksman immediately after.
- Plot twist: Oberhauser was Ernst Stavro Blofeld...in a film called 'Spectre'...after they finally re-obtained the rights after all these years. I didn't see it coming!
- "He dies not knowing who you are. The daughter of an assassin, the only one who could have understood him. Shame." Now, I DO like that line. Makes a great point.
- The bit of blood that flies on the floor as Blofeld goes flying is great.
- Something else I was impressed by the first time I saw it, but does nothing for me now: the explosion. Cool, but a wasted budget, and sort of unnecessary, considering we get yet another huge building explosion in just a few minutes.
- I wonder what Blofeld's plan was if Bond hadn't escaped and made it to MI6 on his own.
- Villains behind glass, bombs, and a foot chase through the nighttime streets of London, brought to you by SP and 'Rogue Nation.'
- As a finale, it's probably the most lackluster one overall. At least SF had physicality to it: Bond going up against Silva and his men. This is Bond playing hide-and-seek.
- System's online at midnight, and all the lights are off and nobody is in the building.
- Just the thought of Blofeld hanging up all of these old photos (the pictures of Bond look like they're from the later hotel scenes in QoS) that he obviously got from screengrabs of the past movies is so cheesy. What the hell was the point?
- Nothing noteworthy to mention as Bond chases after Madeleine, though I do love the exasperated look on his face once he reaches the office Swann's hidden and he's looking at the helicopter in anger.
- Of course, also, the "brothers" line is stupid.
- Another cheesy main bad guy death via CG: C's goofy fall.
- Not sure what the point of the net was, but it's good that it's there.
- I do like the "Goodbye, James Bond" line, as well.
- Bond and Swann make a miraculous escape, all so he can hit a shot that should be damn impossible to make with something like a pistol. But, he makes it, because whatever.
- Imagine how great it would've been if Bond put a round through Blofeld's skull and that was that. Nobody would've seen that coming, that's for damn sure.
- I like the shot of M with Big Ben in the background.
- When in the hell did they have time to fix up that Aston Martin? Why is this a question I'm asking in the final moments of the movie?
- Ends on the Bond theme. Suppose that's something.
Wow... you WORKED on this!
:-O
(I still love the movie with a burning passion though)
Glad you liked it, thanks for giving it a read! It would've been a little more in-depth had I paused a bunch along the way, but that makes it take way too long so I just typed as the movie played.
I still can't fathom why everybody hates this line.
The glamour still hasn't worn off for me. It's at a stable #5, and that's where I expect it to stay the near future.
OF COURSE JAKE24!! - I don't get it either. I guess people find the delivery a bit pantomime, but isn't he just shouting above car noise?
with characters and their history with Bond ? :)
Does anyone else think this film is just slightly too camp? I usually don't think this, but something about this viewing reminded me of 60's Batman.
Regardless, Goldfinger is the ultimate balancing act. Everything is weighted perfectly. This can have the unfortunate consequence of being a film that is easier to appreciate than to truely love.
Dr No and FRWL, but not camp, not in my opinion anyway. :)