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Comments
I don't think even Dench was tied up for THAT long. No, I'm worried that by going for Fiennes it signals a continutation of the big role for M tradition. That said, I don't think it would work as well with Fiennes and hopefully M is more restricted to the office.
Disagree. I think Paul Haggis butt whipped Purvis and Wade until they delivered a great script.
A Fleming masterpiece that was given justice by Haggis and co. The sharpest script since the eighties.
Yes, lets go backwards. Lets remove our brain cells, hearts, and faculties of discernment. Lets revert to 12 years old. Big explosians, dumb oneliners, cardboard characters - yes, lets go back to those days
Its not 1977 anymore. Movies move on become more interesting and three dimensional. More grown up.
The Bond series must too.
Perhaps. I guess what I meant was that overall there's too much fat on the film. I don't know if it's the script, story or direction, but several scenes could have been left out. The whole Miami airport sequence is totall unnecessary - an action scene just for the sake of it.
You're right though that overall this was the best script since the 80s.
I find the fact that a woman is chosen for the role an excellent choice it frees up certain ally's that a male chef simply would not offer. It better illustrates the person that 007 must be and is.
AFter the first M she is the other M worth remembering.
Like in the UK series spooks the role of boss entails more than just sending somebody off to do a job. And it is smart to use a talented actress upposite DC who can do some real acting then. His conflict with M in the hotelroom in Peru/Chili was one of the better moments of that trainwreck QoB. And with a smaller world, thanks to all modern comforts it is easier to keep an eye on operatives. Which is similar a negative when confronted with 007's handiwork at the embassy.
And how can it have been left out?
It actually showed why Le Chiffre was forced to try his luck at the Casino Royale to try and win back the money before his creditors catch up and kill him. By actually showing the audience the plot to destroy the airbus fails - the audience understands it better.
It links Nassau to Montenegro and moves the story along. The villains lose their gamble due to Bond and now have solid motivation to move the story to the casino royale.
You can't really compare LTK to CR. ALL of Kill was set in Miami whereas only part of CR was set there.
Royale has a style and extravagance Kill wishes it had.
Is it going backwards when it's clearly stagnating? The whole M/Bond thing has been done to death. Move it on
What isnt smart about international crooks gambling on a new airbus being destroyed and then running into trouble when it isnt? What would you have preferred? A newsflash? An email? It sets up the high stakes of the casino scenes.
The whole chase looks stunning. There is a shot where the airport security cars are chasing them and they cross the path of an airliner taking off and are caught up in its exhaust and fly into the air.
My mouth dropped open at this point.
I'm not comparing the movies, just saying that (as you note) the Miami setting did not work to LTK's advantage. I felt the quick dash to Miami in CR detracted from the otherwise luscious and oppulant look and feel of the feel. Plus it feels like a bolt-on action sequence rather than an integral part of the plot. Sometimes action helps move the story along. In this case it feels like treading water and slows the whole film down.
That was pretty amazing. The only downers to that sequence were the Richard Branson/Virgin inclusions. Watching it with my dad I remember him saying he thought that was one of the worst things the series ever did (he's not as bigger fan as I).
Personally I like the bit where Craig (or his stuntman?) is on the roof of the tanker and flips down into the driver's cabin just after he's smashed his way through the buses. I don't know why but that was pretty impressive.
We'll have to agree to disagree on this. I don't like the night time setting. I don't like the lighting. I don't like the overblown nature of the chase. I guess, if it was absolutely necessary, it would have been neater for Bond to intercept the terrorist in the back of house area of the airport. Or to have just come up with a different plot device - that is what these guys are paid to do. As it is, I still maintain it feels like a long, boring diversion from the main thrust of the film. And that would be my main criticism of CR - over long and often slightly dull. I think Forster took the same view, which is why he whipped QoS along at such a pace. It is a great mistake of the producers to mistakenly believe that there are fascinating hidden depths to the Bond character that require protracted on-screen exploration. He is frankly a rather dull person - not someone you'd want to share a drink with. Therefore his storylines have to be well-plotted, tense, pacy and free of padding.
To be fair, I do think he put his boot up their arses and got better work out of them..
I feel the story and plotting is largely theirs (although helped along by the original novel, presumably) and that Haggis wrote or beefed up some of the dialogue, which often sparkles.
Like Acton Steve said, overall it's the best since the 80s, but that really isn't saying much.
For me, it is Goldeneye. A familiar Bond/M relationship but with more spice and edge. The dialogue and tension is sparkling. It's a shame this wasn't really developped in TND or other Brosnan films. It is comparable to the great train in Casino Royale I think in re-inventing a Bond relationship.
Oh definitely
The thing is the audience needed an identification figure. It needed to see that 100 million dollars on screen. So when the gambling scam by Le Chiffre doesnt work - the money seems alot more real. The moneys symbol is the airbus.
Of course it is a Bond film so he has to stop the plot. The whole action scene is a way of getting Bond from the Bahamas to Montenegro and moving the plot along. The audience knows the stakes are high for Le Chiffre because he owes his creditors 100 million dollars and it is the villains motivation to beat Bond at the poker. If he doesnt, he's toast. So the airbus is an important plot point.
Personally, I think the entire part from his arrival in Miami until the detonator goes off has that Fleming sweep and moves the film alng nicely.
It's less annoying than the others, I'll give you that. But I hated the dialogue. The 'mysogynist dinosaur' stuff was painful. Plus, Brozza turned out to be one of the most PC Bonds of the series, so the line just seems redundant, especially following on from serial monogamist Dalton.
Lets face it...its a "modern Bond film". These days people want fast moving action and spectacle complete with lots of explosions. Thankfully its a thoroughly enjoyable sequence which you can follow nicely.
The 'mysogynist dinosaur' stuff was painful.
I re-watched that scene today. Its a good scene well acted by BOTH parties. Frankly M's right - I was cheering her on.
I liked the closing line she has when Bond is about to walk out and she calls to him and says "come back alive". It shows she cares.
Should pay more attention!
Strangely enough I agree with you.
Her best scenes were when Craig broke into her penthouse (where did she live? New York? I see her more Perivale or Surbiton then Manhattan) and she tears him a strip. She's also good when she visits him in Nassau and briefs him on the game.
I also like the bitching to her assistant after some minister has bollocked her "christ, I miss the cold war.."
Worst moment was her using a broom handle to get those keys. Now that is a character at its nadir.
You were probably too busy stabbing at your photos of Pierce Brosnan :)) :))
@actonsteve "Surbiton"
I was there today :D
Brilliant
Damn it, I forgot to take them with me that time. They help me focus.
I think you can probably guess what my response to this will be.
Imo Kill had plenty of extravagance. I think the Miami setting worked fine and it suits the film.
I think the CR chase sequence was great and not too long at all, my favourite part of the entire film.