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Comments
The PTS is probably the strongest bit of the film. Bond comes off as a professional ready to finish the job. Recalls of CR where he leaves Solange to track Dimitrios. Similarly effective. One has the feeling however, that the ring should really have come into it later, with Mrs. Sciarra. Here it just feels like a reward of Bond doing his job poorly, and I question how Bond knows its importance.
After the PTS the film is still quite strong, if on a slightly weird note. I simply don't get why Bond and M have issues to start the film after their relationship that started in the last. And why couldn't Fiennes have given Bond the Sciarra mission? As it is, I question the logistics of Dench recording a video message every time she stumbled upon something, afraid she would die.
And then unfortunately, the film loses me earlier than Moonraker, despite being enjoyable for around 40 minutes because of the credibility the film demands. Mrs. Sciarra's bounty makes little sense to me. How much would she realistically know as simply the wife of a member? (The protocols for divorce must be quite drastic (and indeed suspicion inducing)). And from that logic, how does she know about the spontaneous meeting and location of Spectre, if her only source in the organisation is dead?
Blofeld himself and his actions raise many questions as well. Why appoint Hinx to kill White if poison is already doing the job? How does he know Bond is there? Is this not in the "delay" period of smart blood? And what does he truly plan with Nine Eyes? The villain's plot is quite underwhelming once one considers that Five Eyes exists, with the same purpose and powers as Blofeld's plan. The film perhaps should come from the angle that Blofeld's control is negative, not necessarily the program itself, but both are kind of just blended together.
Austria is quite annoying as well. Why hasn't Hinx killed Swann? Does the "no loose end" policy end with daughters? I'd imagine she'd be easy to find too (relatively unique name), and just as easy to slip thallium or any kind of poison to.
And finally in terms of locations, Morocco and London are this film's version of Iceland and the DMZ. I only have minor issues with the TWINE soap opera complain but this turns the drama up to 11. Blofeld kills first because he father showed an attachment to Bond. What a ridiculous statement. And then the perfect exit by Bond after needles affecting balance, sight and hearing, as well as memory and recognition. Somehow a bullet in the shoulder was more impeding than having his brain tampered with. And ultimately the silliest, most ham-fisted scene where Madeleine leaves in the streets as if she's safe. I believe why Craig thought she was a Spectre agent.
And ultimately using Madeleine for that purpose makes complete sense with Blofeld's MO. "Psychologically damaging" and utterly stupid. Sometimes you wonder if Blofeld plans for failure so he can finally use his gimmicks, like posters on the wall or introduce his bro to his man-crater. A maybe cooler way of testing Bond would be not having Madeleine in the building at all, have Bond do something clever to find out he's lying and have the final chase ensue. In my opinion, much better than a screaming-while-gagged Madeleine.
The final criticism of the film: the MI6 crew grates in this film. I understand them having more screentime, and honestly I was fine with their participation until they showed up in the climax. I think this fatigue could easily be alleviated if they don't show up as much earlier: for example Bond could deduce the Pale King = Mr. White and figure out his address in Altausee through his own research. And potentially Bond could ditch the ring subplot (I find it hard to believe the DNA of all previous villains and Oberhauser would be found on it). This would help serve how alone and rogue Bond is, and them he gets loads of help for the climax.
I've run out of gas for the bridge finale, but I think it's quite obvious I wasn't impressed with that, nor Bond leaving the service. Yeah quite bad all in all. Probably won't watch this again.
Ouch. As I suspected, Craigs last 2 entries aren't standing the test of time quite as well.
Excellent write up. There really is so much wrong with this film. A terrible script first and foremost.
The PTS and Train fight are it's few highlights.
An epic spy comedy that takes us to a gorgeous French château, to beautiful Venice, to partying Rio, to the Amazon, before it finally shoots us into orbit. The cinematography, the sets, the music, the stunts and several fun characters, it just all works. Save perhaps for one thing, the writing introduces quite a lot of conveniences and most of it is played for laughs, so there's not much sense of danger as a consequence. Watch it as a comedy / autoparody and you'll have a great time though.
Rating before rewatch: 8/10
Rating after rewatch: 8/10
I think SP is mostly a decent-ish Bond film until Bond arrives at Blofeld's base - then it's just contrived nonsense.
Uhm, because you read *a* review?
Spectre, a film that almost went to the bottom of my list has slowly, over a decade, risen to mid-tier, so what does that mean?
Shameless. Just shameless. But you provided some good belly laughs.
Thanks to all those who reached out to suggest I read @Mendes4Lyfe 's flurry of posts and word salads, 😂
Problem is, from Rome to Morocco, the film is 70s Bond wearing 80s Bond clothing. It feels like a story you should be able to take seriously (and the tone is as such), but so many questions arise. And ultimately the tone of the film isn't like Moonraker where you can laugh the questions off.
GOLDFINGER
We all know what this one represents for the Bond film phenomena, and it is indeed a film that gives you one iconic moment after the other. It's amusing to spend so much time with all these quirky characters spouting witty dialogue amidst all the superb action on the brassy beats of John Barry's score and in several of Ken Adam's finest sets. Perhaps the only real drawback is the infamous barn scene, which is even to 1960's standards wildly inappropriate.
Now, I haven't been known as GF's biggest fan on here and it usually features towards the lower middle in my ranking, somewhere around 17th. This time though, I took my time and really let it sink in and I felt a new appreciation for it. I'm sure it will go up a lot in my next rankings.
Rating before rexatch: 8/10
Rating after rewatch: 9/10
I like the "barn scene". What's wrong with it ?
Pussy points a gun at bond in the plane after all yet people getting upset about that "barn scene" is so childish.........
Okay mate, childish, really? Are we calling each other names on these boards now or can we have a civilised discussion?
Personally, Bond forcing himself on someone, accompanied by romantic music no less, is not to my taste. It doesn't ruin the entire film for me, in fact I think it's a superb film, though I just do not like this particular part.
I'm not calling you childish, just your thinking of the scene as Bond is not raping her,imo, is he ? Maybe he only kissed Pussy in the barn ? That's all we see anyway, right ?
Anyway everyone is childish or has childish thoughts don't they ? Nothing wrong with that....
I didn't intend to offend you 👍
That's quite all right, don't worry about it :)
It's a very good, tightly plotted film. There's not a lot of action, but it generally catches your attention and keeps it. Connery is much better as 007 than he is in Dr. No: here he has feelings and is humanised by Kerim Bey. However, Bond does lack a bit of the doubt, a bit of the nerves that Fleming's Bond had in the story. Connery is bit more brutish as well: he handles Tania post-Kerim quite coldly and physically which I don't think is particularly apt for the story.
I find it interesting that the film ends with Bond "winning" like it does. It serves as an interesting contrast to the end of the novel. Especially with the boat and helicopter chases that make up for Bond being deceived earlier
I think Bianchi captures Tania's beautiful innocence quite well. But the dubbing doesn't really sound Russian. There are some moments ("some English customs must change") where I think she sounded more German.
The soundtrack is alright, although there are some points where the silence is deafening. Bond meets Tania I think is my favourite track.
Overall quite a good watch.
Back at uni where I studied linguistics I once showed TLD to a befriended student who followed Russian, she said the Russian in the film was hilariously bad. She still enjoyed the film though.
Alarum - Sylvester Stallone's latest film.
https://www.rottentomatoes.com/m/alarum
Maybe time to retire, Sylvester.
If she's talking about Kara Milovy, she's not a Russian, she's Czech.
Well no, Kara is actually Slovak. But back then they formed the same country with the Czechs.
However, my friend did not refer to Kara, she referred to Col. Feyador :)
Firstly, Connery delivers an overall good performance. He's cool and funny and pretty effective. I think also this film is Connery in the best shape, even if his toupee does look off sometimes. Wardrobe is top class, and holds up well today. Unfortunately however, Thunderball probably has some moments where Bond crosses the line into lechery. The bit at Shrublands with Fearing is particularly weird.
Unlike a lot of Bond films I dislike, this one doesn't really have the benefit of starting well. It started convoluted and a bit silly with the jet pack and the weird gadgets of the Aston Martin, but Shrublands packs it on more. It's clear in the film version they wanted Bond to seem a bit more driven, unlike the way he sort of stumbles on the plot and doesn't get what he's doing in the novel. But the film takes this too far. Plastic surgery and doubles and murder are all too much for what is in principle a simple robbery and exist only for Bond to discover. And why doesn't the goon shoot Bond once he stumbles upon a dead Derval? I simply don't understand why the film just didn't have Derval corrupt from the start, or have him blackmailed.
A much simpler premise: Lippe makes contact with Derval, threatening his sister. Volpe is planted to monitor that he follows SPECTRE's orders. Bond, while skulking in Lippe's room, finds his diary (like he does in the film!), his treatment information (to trap him in the bath), and information about his blackmail of Derval (and mention of his sister). Then chasing Derval's sister becomes a genuine lead, there's no ridiculous notion of doubles, and Volpe and Lippe still have the same initial importance.
Anyway, I feel like Shrublands starts the film on a poor note. Then the stealing of the bombs is quite slow. I feel like some of the underwater footage at this point should have been cut down, and we certainly didn't need the whole winching sequence as well.
On forty minutes the film properly starts. Here there's not much to criticise. Bond is charming and ruthless and the shooting scene is real highlight. I mean the only thing I don't really care for is why Largo invites Bond to Palmyra in the first place, and the convoluted reason of getting him back because of Paula (a fairly nothing character).
The whole idea of a SPECTRE ring is quite silly as well, especially while they're undercover as well. Like Bond wearing an MI6 blazer to every casino. But I can ignore it for the sake of fun.
Once Fiona dies the film really feels like it should kick into gear but it seems to stall. I've never cared for the army vs army climaxes. Yes, I'm aware the novel ended in this way but my eyes glaze over in most instances this occurs. And it being underwater this time does it no favours. The final fight however is poorly edited and takes away a lot from the film.
John Barry was on top form here. Even if the SPECTRE trilogy wasn't plotted out how I'd like, TB, YOLT and OHMSS make truly brilliant scores.
I think in summary, Terence Young tried to make another FRWL, meshed with GF: a story that requires all the cogs set in motion before it moves, and here the base of the story is flawed. And some of the Goldfinger-y elements remain to varying effects. Overall, not bad. Probably could move a bit higher on my ranking.
Obviously not even close to its word-class predecessor, on any level. However, this laidback and rather hilarious little smuggling-mystery-gone-berserk is surprisingly entertaining with its one-of-a-kind characters, superb dialogue, loungy music, easygoing atmosphere and Sir Sean having a good time as a sophisticated fish out of water in sleazy Las Vegas. One can certainly criticise it for a few plotholes and some cheap special effects, but when Bond uncovers two baddies via wine knowledge I am willing to look past any of that.
Rating before rewatch: 8/10
Rating after rewatch: 9/10
After my watchalong with CR '67 yesterday, I had to watch a proper Bond movie before the Bank Holiday ended. So, of course I went with Roger! EYES Only ( or 'Operation Undertow'! 😜) is quite undervalued in most polls/reviews, but I've always enjoyed it! It has stunning vistas ( the Producers should really return to Greece some day!) , excellent action setpieces ( the ski sequence is superb), some good characters ( Rog is great and Topol a memorable ally) , though it has a weak set of villains ( one of its big drawbacks!) I enjoy the score ( really like Contis instrumental of the main theme!) It has underwater scenes that are not dull ( the keelhauling and the fight with the JIM diver!) and the humour is kept mostly in check! This was another good viewing. It's a dependable,if not outstanding Bond movie, that I will always have time for!
My last viewing was also very enjoyable, I'm looking forward to revisiting it! I think locationwise it's one of the best, and I love that funky score!
Absolutely love that first half, with the snow mission behind the Iron Curtain, the phenomenal Duran Duran song during that magnificently 80's title sequence and those Paris and Chantilly scenes. Several colourful characters also give this outing some extra spark with May Day being my absolute favourite, while honourable mentions would go to Zorin, Tibett and Pola Ivanova. Near the end it all runs a bit out of steam to be quite honest, though overall it's much more agreeable than what general knowledge would have you believe.
Rating before rewatch: 8/10
Rating after rewatch: 8/10
My one little rewrite for this movie is if Necros and Koskov betrayed whittaker once they had no more use for him, and the last scene in Tangier was between Bond and Koskov. I don't mind Whittaker as a character, the series has lots of overacted side characters, but I don't think he should have been the final boss of the movie especially considering him and Bond never even meet until the end. I also think it would improve Koskovs menace as a villain to see him coldly dispatch Whittaker and assume his residence as a hideout/headquarters.
But otherwise, its pretty much a perfect Bond film. The pretitles is one of the best, the incorporation of the Fleming story works amazingly well, Dalton gives his best performance IMO, the idea of a Bond henchman pretending to be a milkman works well, the plot of staging Koskovs capture to set the Brits against Pushkin, Kara is a great rendition of the winged dove Bond girl, innocent without being annoying and grows into her own as the story progresses (without falling into the obvious "I am woman, hear me roar" trap). The dynamic between her Bond is instantly compelling and the gag about going back to get the cello establishes a more human relationship. The car chase/cello escape is classic Bond and a somewhat more grounded twist on the "Bond rides in an unusual vehicle" trope. I love how so much of this film is set in opulence, it really feels like vintage Bond. And I don't care what anyone says, I love the Afghanistan sequence. The score and cinematography are incredible. Again, very opulent and romantic feeling, like the golden age of Hollywood. I think perhaps the budget was being stretched slightly come the final battle, I don't think it quite feels as epic as it should, but that's a minor quibble. All in all, top marks. Fantastic entry, and one of the best Bond films overall.
Long time no see everyone. Took a hiatus from watching Bond films, aside from showing my fiance TSWLM not too long ago. Popped this in while we worked on a puzzle last week and it gave me the itch to jump back into the nostalgia-soaked world of Bond all over again.
As I'm sure some of you here know if you remember me, I used to proclaim TMWTGG as the worst Bond film bar none. For years. As I've gotten older and older and further and further into adulthood my appreciation for it has grown. It really is one of the few "odd ducklings" of the series for better/worse and I think that lends it its uniqueness.
Guy Hamilton's Bond films in my estimation all have their share of perversion and strangeness. I've already written elsewhere a longform academic-ish piece on the queer themes that are under the surface (or oftentimes right on the surface) of TMWTGG that give it much of its intrigue. But beyond that, it's just so bizarre and its tones and colors are so often contradictory and yet somehow it all kind of works better for me the older I get. You'd think as I got older and my understanding of cinema improved the sort of inconsistencies of something like TMWTGG would bother me more and more, but my experience has been the opposite.
Perhaps much of this can be boiled down to intangibles. Like Nick Nack and Scaramanga, it just works.
I don't think it will ever be one of my favorite Bond films, and because I am not the most critical fan of the series by any stretch I have love in my heart for almost all of them. But it's been really nice to have a consistent growth in appreciation for this over the last decade or so.
Hope everyone has been well. I look forward to revisiting this when I'm *not* working on a puzzle so I don't miss a single second of it