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Not even Bob Simmons sexy legs?
Still agreed. If this is still a TB vs. GF comparison, then I heavily agree.
The thing about the GF PTS, is that-like much of the film itself-it's rather limply and lazily written. What villain/man is Bond striking against by destroying the drugs? Who's the contact? Who's the woman (they seem to be friendly/familiar) and who the hell is Capungo? Is he a paid off agent of the no name drug guy Bond just threatened the coffers of? We know virtually nothing, and all it strives to do is look nice, barely meeting the mark. Sean in that dinner jacket is beautiful, but a PTS should also care about story and narrative progression and context, even as a little tidbit to start the movie. I don't mind when PTSs are unconnected to the main plot, but at least tell a story with the time.
In TB, you know the story and the players from jump, because it's well written. We see the casket, and mystery forms. Is Bond dead? Then we see him watching above, and the film takes the time to explain who Bouvar is and why Bond wants (needs!) him dead. We are set as the audience and informed of what the main goal is. The film then progresses with forward momentum as the seed of doubt is planted in Bond, spotting the "woman" opening her door. We feel the mystery as he does. As Bouvar enters his home, we are surprised to see Bond in wait, and shocked all the more to see him punch who we think is a woman. Then the fight erupts, which is everything the Capungo bout isn't, giving everything a nice edge. Bond escapes, cue curtain. Because the movie works to tell us things through visuals and dialogues, the sequence feels like a mini story that we can actually describe to viewers after.
I couldn't begin to describe the GF PTS beyond the sentence, "Bond destroys random drugs, tries to sleep with girl, oops, he doesn't."
@Ludovico, it's what I always mean when I say some films are untouchable in the series for a shocking number of people, no matter what they do. Goldfinger could have a twenty minute section where we have to watch paint dry on a wall, but if it's got a cool car in it, someone painted gold and a guy throwing a hat, it's instantly the best movie of all time.
I don't mind varying opinions, mind, but let's keep to a consistent standard. If GF can get away with bloody murder, what's the point?
I do feel TB really captures the fantastic world of Bond very well.
- Great soundtrack
- Elaborate escape
- DB5
- Fist fight
- Atmospherical chateau locations
- Beautiful girl
- Great oneliner: "No well-dressed man should be without one."
Yeah he does look like he has imminently shit himself and is running full pelt to the toilet,guard or no guard...
There's an effervescence and swagger to GF that is pretty unmatchable in my opinion. DN and FRWL are brilliant, but they do retain the feel of late 50s early 60s cinema, where GF is timeless. It still feels and looks fresh and vital. Some of us forgive it the little foibles simply because the style and confidence on display keep it ticking. It's flawed, just like all Bond films, but it's tight, masterfully realised and is swept along by a completely unique score. It's absolutely deserving of its iconic status Imo and it pains me to see fans giving it a kicking. TB also has its moments of beauty and bombast, there's no doubting that, but as packages GF has a sparkle that is ever so slightly dulled in TB and is also blessed with an extra shot of the Fleming bizarre.
@Mendes4Lyfe, it's a run designed to be militaristic, to fit with Bond's past. I actually like that about how Dan's Bond runs , as it makes him look like a man who served in the naval branch and learned how to run in the best effort to keep his body moving in the fastest, yet most effective way. Bond has moved on to a 00 position, but can't shed his earlier training he honed in a different part of government service.
It's not a kicking, it's just that many of us don't find it to hold up in major ways. "Tight" and "masterful" just aren't words I'd use to describe a film where such a small amount of actual storytelling occurs, and where an already limp story just plummets earlier than halfway through in unforgivable fashion. Add to that a lack of artistry, consistency and strong character work that also feels consistent, I could never in good conscience allow the film to pass the likes of DN, FRWL and TB that have all those and more. I can forgive a lot in these movies, but if Bond doesn't feel worth supporting in a film and the story is a slog, we're already in a rough spot, and that is the story of GF for me and why it loses so many points.
I would have called it a T1000 impression, but I suppose Boston Dynamics is also fitting.
No huffing and puffing, just a grunt as he shoves the guard aside, and another grunt as he land on the jeep. I see absolutely nothing wrong with his run, though I don't personally run like that, the rare occasions that I do run.
He looks like a dork, that's all.
I don't think dork has the same negative connotation as it used to, say.. back in the 1990's. But to each his own.
Dorky as in awkward, uncoordinated, silly, etc.
Is Rog really that bad of a runner? He fought like the Tin Man in need of oiling, but was his running so bad? And as bad as it might have been, it surely couldn't have been as bad as Steven Seagal's running style.
Oh I know what I means, I meant that it isn't the insult that it used to be.
The Man With The Golden Run
You aren't spying on me by any chance, are you? *begins to notice hidden cameras that weren't around yesterday*
Any weird fetishes you'd like to share with the group, Major?
This is bloody horrendous!
Apologies for turning this into the 'How Actors Run' thread.