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You can go to Madeleine Swann. She has dealt with worse patients before.
Plus, I hear she's single.
Unlike Tracy, Mads IMHO is a liability. Blofelds death is her fault for example. At the end, she spends the final 20 mins sitting on a rock ("Nomi, we are fine, go back and help James" ) and Nomi "You're safe now, I'm going back to help 007. For all the talk of womans role in Bond movies, how many of the female characters actually push the plot forward in a positive, self motivated way? Moneypeny shows initiative, inviting herslef and Bond around to Qs flat. A great scene and a key interverntion re plot.
PS another point (sorry to be picky) if you look at the horrible flash back with Mads just caused by going for a swim, why does she still live at the original house? Constant flash backs?
PPS my wife came (not a Bond fan) she said she loved the soundtrack (I told he it was Zimmer). Her favourite part of the music ? "The song at the end" Barry you genius!!!
It’s definitely wide open now.
No. No. No. The people she works with die.
I don’t wanna die.
It’s no...time...to....die...
(pain)
Its the one Major thing that irks me about NTTD!
The use of that song. OHMSS is my favourite Bond movie, will be doing my annual Xmas watch as always (and always look forward to it!), and that theme belongs in that movie!
I wish Zimmer came up with a theme of his own for Madeleine/Bond, if Arnold could do it for Vesper, why couldnt he?
I loved the use of the song too. Perfect way to go.
I wasnt praising it! The opposite in fact!
Sorry. I can’t read. Just devastated.
Please avoid double/triple/... posting. Use the edit button instead. Thank you.
Back to the movie, am I the only one who's glad we weren't given another by-the-numbers, formulaic checklist film that would have left us little to talk about but "meh" and "okay-ish" and "better than last time"? I'm pleased the Craig Bonds have continued to gamble and have been gunning for something more than just "another Bond film". NTTD really kicked the hornet's nest. Seeing how it did that, I applaud the film.
I would call this film the Gladiator of the Bond franchise after my second viewing. You know how it ends but it doesn't rob it of any of the hero's journey and thrills and joys along the way. It was gutsy filmmaking and as usual, I'm reassured by those four magic words at the end of the credits.
I'm going to need to see this one a few more times at least before I'm able to rank it but it was even better than I suspected it might be.
I'm really shocked by how the aspects I was most worried about (Bond and Madeleine's relationship, the MI6 crew, Mathilde, Bond dying) ended up being some of my favorite moments. I didn't sense an iota of chemistry between Bond and Madeleine in SP but I absolutely bought their journey in NTTD - settling in off the grid, the atmosphere between the two when things go south and there's a sense of betrayal, finding one another five years on, emotions still running high. I can't believe I walked away feeling for Madeleine so much and enjoying her character so much.
Also, this is one of the most non-Bondian Bond films I've ever seen. I need more viewings of it but this may very well be Craig's best performance; he felt so human, so real, like James Bond was no longer a character but an actual ex-agent living off the grid who is called back into action. The way the conversations flow, the fresh and natural nature of the quips, it didn't feel at all choreographed, didn't feel like dialogue written down on a page (sans a few moments, of course). All the one liners related to the bionic eye were great and it seems Craig's sarcasm and sense of humor finally hit its full potential. He had me cheering, laughing and crying throughout this. I'd say if there's ever a Bond performance worthy of awards, it'd be this one. I just can't believe how great his take was after SP.
The MI6 crew was still used a bit too much for my tastes, but holy hell, M was solid, in a similar situation to M in SF, Moneypenny wasn't bad or cringe and this is one of my favorite Q performances in ages (his final moments with Bond? Incredible).
Mathilde was so beautiful and it was instantly easy to connect with her story and feel for her when she's scared, when she loses Dou Dou, when she smiles at the start of a story about James Bond. I can't believe how well it was executed. I became a father in January to my beautiful daughter and I'm sure that recent life experience made me all the more emotional.
And Bond dying? I was prepped and ready for it but I think I cried like a baby nonstop for the last five or so minutes before the credits rolled. It was heroic in a personal sense, effective and very emotionally charged. I get why they did it and I gotta say, it doesn't bother me at all, just made the stakes and the finale all the more special to me.
There are bits that didn't work for me, sure. Valdo had one or two OK moments but for the most part, he was slimy, embarrassing and featured way too often. He's like a Boris Grishenko-lite but missed the mark so often (that CGI shot of him falling down the elevator shaft, screaming was so bad) and didn't bring anything to the table for me. Maybe that'll be better on subsequent viewings, though, as the theater I was in had bizarre sound issues - sometimes the dialogue felt muted, other times the score was too loud to hear what else was going on. I could still piece together what was going on but I would've loved some subtitles, damn.
I also think from the PTS to Cuba is incredible and Norway to the finale is excellent, but I could've done with something in the middle of the film, where it dragged just a hair and lost some momentum.
Also, I quite dug Safin, but much like others, his objective is quite muddled at times (I'll admit, I got lost at times on what was done by SPECTRE's hand, what was the result of Safin, Primo's motivations etc.) and that'll likely be helped with more viewings, some subtitles and letting things breathe more so I can check out more details and let the story click even more. His appearances are sort of akin to Dr. No but he doesn't get the same sort of reveal that Julius does - a quick monologue with Bond before disappearing, the rest of his moments on the island are slightly sinister but not terribly threatening or impactful. I love Malek and wish he had some more to work with here (and I do wish they had a proper tussle at the end of the film like I was expecting, but seeing Bond finally shoot and kill a target after so many years, on top of Safin's glee over Bond never, ever being able to interact with Madeleine and Mathilde again makes up for things considerably).
The action here is consistently solid, easily my second favorite of the series but nothing will beat QoS' frenetic energy for me. I will say, though, that most of these moments are way too short and deserved just a few minutes longer. In hindsight, it seems super easy to piece together the entire PTS in Matera simply because of how short it is - the foot race back to Madeleine and the car chase were brilliant, but definitely needed more time. I really, really like the shot of Bond dropping the mines, taking out the car, drifting and spinning 360 degrees while firing at the other pursuing vehicle and then moving on. Bond weighing his options and the supposed betrayal while all the goons unload on the DB5, Madeleine pleading with him to do something, only for him to say "OK." and destroy everything in sight and escape was great.
The title sequence had some surprisingly great moments and motifs in it, but damn, they really need to go with some fresh blood next time. It feels like Kleinman keeps trying to come up with something akin to the M:I series that shows off the major events of the film instead of working a couple of thematic elements, some guns and girls in and leaving it at that. I don't need any more Bond silhouettes enveloped in mystery, I don't need his relationship on display, none of it. I can't recall much of it now (maybe that says something) but I felt it stood out much more positively for me than his last two works. Not a fan of that title song at all, though, but it's better than Sam Smith's mewling "work."
Jamaica is one of the highlights. Hell, I wish the film had spent at least half its runtime here, so I could've enjoyed more of the culture and beautiful nightlife it had to offer. The return of Felix is great - perhaps their camaraderie and close "buddy-ness" doesn't work as much since the man's been sidelined since 2008 and their relationship never grew, but I'll chalk that up to off-screen happenings, because their connection here is palpable and I loved their conversation in the bar together. His death hit me really hard - I think in a film where you're killing off Bond and Blofeld, you don't have to kill so many iconic characters by taking out Leiter too - but it is a good motivator for Bond wanting to destroy Ash later on. Ash, before I forget, was great, playing the goofy, fake-nervous State Department representative who clearly has ulterior motives (seriously, from the second he was on screen, did anybody think he was going to remain a good guy? I do think the series needs to step away from these obvious double agents and friends-turned-enemies, it's a bit repetitive by this point). The way he giggles when Valdo kicks him the gun, the way he nervously stumbles over his words when first meeting Bond. Very solid. I also liked the little red-lit tussle between Bond and Ash - but again, it's done way too quick. It starts to get great and it's over before you know it.
The Cuba scenes were very classic (some of the gunplay felt a bit one note to me) and Zimmer's score here is incredible (the bit as Bond screams and throws himself and the other guys through the rail is one of my favorite moments) and there's a real fantastical feel to everything else - the scenery, a wild sex/birthday party for SPECTRE where Blofeld fakes crazy so he can be in attendance via a bionic eye, the instant chemistry Bond and Paloma share (she was so damn lovable and fun, I wish she had more screentime too). It really worked for me. I caught the MGW cameo too! Felt pretty obvious to me and I had forgotten about it, wasn't even looking for it.
We get one Blofeld scene in the middle of the film and he's much, much better than he was in SP. I thought this scene was going to be insanely hokey and bordering on cringe but it was quite good. It wasn't anywhere near as overblown as I thought it would be. It's just a shame they thought it was a good idea to introduce Blofeld in the fourth film and kill him off at the end of an era. Onto the next one, I suppose! I think this is where I really start to have issues - all the nanobot and sci-fi stuff gets a bit ridiculous and the way they continuously explain it, leading to something inevitable, gets a little old. I think these moments would've fared better had they been spaced out more throughout the film's long runtime (which, yes, has terrific pacing and doesn't at all feel like a near-three hour film) or were simply explained quicker and more bluntly. These are the only moments that bog the entire experience down and make it feel a little on the long side. After that, though, I can't believe how quick it moves.
The emotion is instantly ramped up yet again as Bond tracks down Madeleine and they share a loving moment before the reveal of Mathilde, who you can sense Bond instantly recognizes as his child, even if Madeleine wishes to brush it off and keep with finding Safin. I can't remember all the lines but I think there were a few one liners or comments here that gave me a chuckle, like the "how many secret rooms did your dad have?" line by Bond. It's funny to look back at Mr. White as this mysterious henchman in 2006 and now, 15 years later, Bond is in his old house, dating his daughter, realizing Mr. White's granddaughter is his own daughter. It's poetic, in a sense, even if I disagree with the "genius" behind an arc that was clearly retroactive. I love the action kicking off by Bond casually wondering why Nomi (I think that's how it went) is tracking Bond and not Ash, before realizing she is indeed tracking Ash and he's incredibly close. Great moment of tension that segues into everything going downhill. Once again, however, the Norway action is short - I felt like they really talked up that car chase (which does look beautiful, I love how practical it is throughout and don't get tired of all the cars and bikes coming into frame by speedily jumping over that hill) for just how short it is. What's it last, three minutes maybe? However, then we get a lovely, horror-esque hunting scene in the woods, where Bond amasses any tools and weapons he can find to take out anyone in sight. It's good fun, though I was a bit bummed by how quickly he dispatches Ash (I really dig that FYEO throwback where he casually let's the car crush him before moving on). I would've enjoyed another fight between the two.
And finally, the finale, the point of the film that has some of the biggest highlights of the movie for me, some of the most emotional beats in the series, yet a lot of underwhelming aspects too. An old submarine pen on a World War II island? Love it. I really enjoyed the dark, wet nature of the base itself, all the shadows lurking about, flashlights illuminating these parts. I only wish the mysterious, poisonous nature of the entire lair was played up more, but I suppose we get this with Valdo's death, the nanobot vials, etc. It was used to great effect, it felt like a very long finale and I love all the work Bond and Nomi put into the mission, getting everyone to escape, Bond having to run back to open the silo doors, making his escape, seeing them shut, going back and accepting his fate. I really loved his fake begging, pleading and apologizing to Safin, too, while he slowly draws his PPK and takes out his bodyguards in rapid fashion. The tracking shot was so brilliant, effective, frenetic. This is where the gunplay and action is the biggest highlight for me, I wish it was just as impactful and gritty throughout the rest of the action sequences (whereas in Cuba, it sort of feels...flat? Quick? I don't know how to describe it.) Safin's monologue is pretty good, I just wanted much more from a villain so mysterious, from a villain who managed to single-handedly wipe out the majority of SPECTRE. You can question his abilities, where he sort of has this impossible ability to predict the future and what will happen, ala Silva, but it's the biggest way they move the big plot points forward so I accept it for what it is.
And Bond's death? Insanely emotional, I cried, and the track (I'm guessing it's 'Final Ascent' though I could be wrong, haven't looked into the track titles all that much) couldn't have been more fitting. Also, I was surprised that all the OHMSS stuff didn't bother me in the slightest. Hearing those sweeping moments of Barry got me really emotional yet giddy as a lifelong Bond fan, and WHATTITW playing as the film closes couldn't have been more poetic for me. It does get a little "in your face" with all the "...have all the time in the world" comments but it was still effective for me. The last conversation Bond has with Q and Madeleine was supercharged in its passion and sentimentality, it was excellent. I can't believe how sad it got me and yet I still walked away happy, ended up loving the closing out of his story this way while simultaneously excited for what a new, fresh era will bring. Craig's best performance, by far, I think. I couldn't be happier that he chose to return one last time and absolutely crushed it. His legacy would've been much worse off for me had he ended things with the dumpster fire that is SP.
Nomi got better for me as the film went on, particularly during the finale, but I felt like her sarcastic almost bitterness at times was way too played up and extreme, especially when Bond was clearly warming to her, giving her leads, congratulating her, etc. It's like she couldn't let her guard down at all. But as I said, once they're working together and communicating in the finale, I loved the repertoire and bonding they shared. Her action scenes are quite good here, loved the way she kills Valdo then instantly segues into gunning down a few bad guys and making her escape.
Think I'll stop there, I'm rambling at this point, and even then, I'm sure there are several moments, lines, characters, aspects of the film, etc. that I've glossed over or missed. I'm surprised just how much of the film feels familiar to me after only one viewing, how much I walked away remembering, even after a night of sleep, and I look forward to further familiarizing myself with this installment. It's a really fitting, heroic end (and yes, I see it as heroic - Bond is going to die from his gunshot wounds anyway, he can never, ever hold his daughter or Madeleine again, and the blast doors need re-opened to ensure the destruction of the island - how is that not heroic?) for Craig and I love what they brought to the table. I had my reservations with the first few trailers, but the more I saw in the last two months or so, the more excited and optimistic I got. The spoilers I read brought that down for me a tad, only to somehow end up being the film's greatest strengths for me.
Thanks for reading my wall of text and rambling thoughts.
I haven't loved a Bond installment wholeheartedly or walked away satisfied from a new Bond movie since 2008. It's great to be back and feeling this way again.
In a way, NTTD way-retroactively corrects one of the few mistakes of OHMSS--playing the length of that song, with Armstrong, over the end credits.
That was a truly wonderful review to read, @Creasy47! And I love that picture of you with your daughter. :-)
I haven't seen a lot of people discuss this, but I also absolutely loved the opening title sequence. The "time" theme and the little nods to OHMSS were great, and I love that it has actual COLOR, unlike the last two DC title sequences that were drowned in darkness and ghostly blue light.
Two minor quibbles about the film:
1) I thought the two vehicular action sequences both seemed a bit short. I thought an additional two or three minutes each for the Aston Martin chase and the Norway chase would have been most welcome.
2) While I thought Rami Malek was delightfully creepy, his scheme seemed to have little discernible motive. The whole time I kept asking myself, "Is there an actual reason he wants to kill millions, other than the fact that he's a Bond villain and that's just what they do?" It never seemed clear to me.
All in all, though, I thought this was a terrific film, and I'm already psyched to see it again.
Yes, I felt something similar. Getting used to the idea now though I still maintain that it was a terrible decision and a huge mistake for the the legacy of Bond movies as a whole. Hopefully, I'll also soon feel like watching some of the old ones again.
Imagine the look on your baby girl's face 20 years from now when she sees that she was there, during the launch of NTTD, with her dad, an avid Bond fan, from whom she's inherited her love for all things Bond. She'll be reminded why you're the coolest dad she could've wished for, @Creasy47.
My mom used to take me to the movies when I was little. Now I'm taking her to see all the Bonds, Star Wars and other films. One day, that cute little baby you're holding there might be taking her "old man" to see films, and enjoy every second of those moments when no one speaks, but a lot is being said. I hope that soon enough, I'll be able to take a child of my own for such precious memories, @Creasy47.
Way too much melodrama between Bond and Madeline.I don’t believe he’d be hung up about her five years after letting him go.Some of the scenes between them were like something out of a daytime soap opera.And I’m not saying Lea Seadoux is ugly or anything ,but I don’t see why he’d be so in love with her.She hasn’t exactly got a winning personality.
M going from Spectre where he’s all for old school agents in the field over big brother style surveillance to using NANOBOTS was a bit of a stretch.
MI6 seemed understaffed in this film.With the high stakes during the climax,the MI6 regulars should have been in a command bunker with generals and military personnel like the climax of TND.
Bond not being a womaniser anymore.Come on,this is JAMES BOND.
CR is far and away the best of Craig’s run.It was all downhill from there.
That warms the heart, @DarthDimi, thank you. I do hope that's the case, would love to get her turned on to these films or at least appreciative of the fact that she got to enjoy them with me at such a young age, even if she won't recall it. I hope it comes full circle and that's how it goes one day for us! I can't wait to show her this one in the next couple of months. Hell, I probably could've gotten away with taking her yesterday, if not for how loud it gets; the theater was so dead, I was shocked.
1. The title: sorry it sucks. I hate it. It’s a Brosnan leftover that was even to bad for Brosnan
2. Paomi saying no to bond seriously am I the only person upset by this! Even my wife who isn’t a bond fan said why are the women creeped out by him.
Again I am trying to make my peace with bond dying but those two things I will never be able to be ok with
Don't get me wrong, it's 99% sure that he's dead, and it's the ending that's the most coherent with Craig's characterization... but he's pulled up bigger stunts in the films, including during Craig's run (the fall from the bridge in Skyfall). It's quite similar to "The Final Problem", the short story in which Conan Doyle killed Sherlock Holmes, while no body was found and shown.
The 1% (or .1%) I allude to could mean that, like what happens in the events of YOLT (the novel), he eventually survived, but will stay off grid (the thing he's succeeded in repeatedly over the course of his films) for the rest of his life while everybody assumes he's dead, as he would never risk harming Madeleine or Mathilde. Anyway, if you have a kid who's too sad about Bond after this ending, you can still tell them that, rather than waiting for the next film, to reassure them. It would fly better than saying he's been sent to a big farm in the Kuril Islands.
And if they left the fate ambiguous deliberately, they were absolutely right not to give any clue (unlike the ending to The Dark Knight Rises or the second Sherlock Holmes film with RDJ, where it didn't matter as much) about a potential survival, as it's obvious Craig won't be back, and that they're done with the strict continuity of his five films.
But, more importantly, this slight ambiguity may be used in Bond 26, even if it will definitely be a new cast and a reboot of some sort, dispensing them of a new origins story. They can mention or show that (the new) James Bond was eventually found weeks after the end of some mission where he was presumed dead, and that he asks for these events never to be mentioned again (as it causes him too much pain). Casual watchers would buy the explanation and it would go about as well as the Goldfinger DB5 with all the gadgets being in Craig's garage in the middle of Skyfall.
Thank you for this review. I find myself feeling exactly the same way. I was spoiled on the ending and almost didn't even go see the movie at all due to being so disappointed and bitter. But when I found out about how he chooses to die due to the poisoning, that changed everything for me and I couldn't wait to see the film. It's a truly beautiful film and a beautiful experience. I cried the first time I saw it even though I knew it was coming. I went back for a second viewing and cried even more. It's the most tragic conclusion for this character, but it leaves me feeling so happy and thrilled and anxious to watch it again. It's odd but this is truly a feeling I've never had before with film. What a phenomenal accomplishment for Daniel, Cary, and the rest. Lots of comments have been made about Daniel's distate for the role and wanting to kill him off and only returning for the money. His performance in this film should put that all to rest. He was extraordinary.