Movie Review: Casino Royale Starring Daniel Craig

Casino Royale (2006) 

Directed by Martin Campbell 

Written by Neal Purvis, Robert Wade, Paul Haggis 

Starring Daniel Craig, Eva Green, Mads Mikkelsen, Jeffrey Wright, Dame Judi Dench 

Release Date November 17rh, 2006 

Published November 16th, 2006 

I've never been a big James Bond fan. I have always perceived OO7 to be my fathers kind of hero not mine, I'm more Han Solo than Bond. So I didn't get all that worked up over the controversy that surrounded the selection of a new James Bond and the unceremonious ouster of Pierce Brosnan. The most recent Bond flicks had begun to devolve into kitschy exercises in gadgetry and snark.

The new James Bond is a little more my style. Grittier, more violent, darker in tone than any of the other Bond pictures, Casino Royale, starring Daniel Craig, is an action packed, quickly paced thriller with more in common with Jason Bourne than James Bond.

In this version of Ian Fleming's legendary spy series, James Bond (Daniel Craig) is a rising star in British Intelligence. Having just attained his double-oh status, James is a prickly thorn in the side of his superior M (Dame Judi Dench). On a mission in Africa, Bond killed a government witness in full view of witnesses and a security camera and, though the death was justifiable in context, the tabloids want someone to blame.

Rather than feeding the junior spy to the media, M sends Bond on holiday; knowing full well that he is not finished with his current mission. Tracking a terror target to the Bahamas, James reveals his talent for hold'em poker and his charm with the ladies by showing up a terror suspect at cards and then seducing the man's wife.

Eventually this trail leads Bond to a high stakes poker game in Montenegro where the world's leader in funding terror groups, Le Chiffre (Mads Mikkelson) is holding court. Le Chiffre is a highly competitive and seemingly unbeatable player. It is up to Bond and his government accountant Vesper Lind (Eva Green) to stop Le Chiffre from winning the money he needs to continue supporting terrorists.

That is a semblance of the plot of Casino Royale. The plot, of course, is superfluous to a movie so much more interested in looking cool. Director Martin Campbell and star Daniel Craig are the perfect combination of style and cool. With his cold blue eyes and chiseled physique, Craig is the most intimidating Bond in the franchise history. Director Martin Campbell makes great use of Craig's assets, placing him in more hand to hand combat than ever before and eliminating the series' stale reliance on gadgetry.

Danish actor Madds Mikkelson is a Bond villain not unlike Charles Gray's Blofeld, at least early in the film. Mikkelson's Le Chiffre is a hands off villain whose talent is moving money for far more dangerous villains. He's unlikely to get physically involved with Bond, especially one on one. As demonstration of his vulnerability, Le Chiffre cries blood when he's frustrated.

There is however, a torture scene where Le Chiffre shows a more sadistic side than any Bond villain has likely ever shown. I won't detail what happens in this scene, let's just say it involves that most sensitive part of the male anatomy. The torture scene along with some of the violent hand to hand combat left me wondering just how the MPAA gave Casino Royale a PG-13 rating. The hand to hand battles are brutal and bloody and the torture scene is nearly unbearable, not anything you want to take the kids to see or allow your young children to see on their own.

There is much that I enjoyed about Casino Royale; but, the film is not without noticeable flaws. At two hours and 20 minutes, Casino Royale desperately overstays its welcome. The movie ends atleast twice before finally resolving with a major sequel tease. Just as the film seems to be over for the first time, new villains are introduced out of the clear blue sky and with little to no connection to the main plot. That's irritating enough but when the film continues on with a second false ending, I nearly walked out in disgust.

There are a good 20 minutes, at least, that could be cut to make Casino Royale a leaner, more focused and far better film than it is.

The most exciting thing about Casino Royale is the absolutely extraordinary chase scene that opens the film immediately after the credits. As Bond and a fellow agent scope out an African bomb maker, Bond's partner accidentally tips off the bad guy and Bond is forced to give chase. The chase is one of the most mind blowing action sequences ever filmed as stuntman/actor Sebastein Foucan demonstrates a style of free running called Parkour that shows off his abilities as a human special effect. Foucan's leaps, jumps, dives and twists and his incredible speed make Jackie Chan look like Jackie Gleason.

I wanted more of Sebastien Foucan and would love to see him get together with Tom Tykwer for a Run Lola Run sequel. Foucan really steals the show in Casino Royale.

As always one of the most eye-catching things about a James Bond picture is the Bond babe and Eva Green, the sexpot star of Bertolucci's The Dreamers, really fits the bill. Though little is required of Green in terms of plot, character or action, she is terrific eye candy and that is the very least you can ask of a Bond babe. Yes, I know the term Bond babe is passe in this day and age, but what about Bond is not anachronistic in the age of the techno thriller.

An excellent debut for new Bond Daniel Craig, Casino Royale is a rollicking, old school action flick that could have ranked amongst the best action pictures of the decade with a little more work in the editing room. At nearly150 minutes Casino Royale is a chore to sit through, especially the irritating triple ending.  Still, Casino Royale contains just enough action and sex appeal to make for some terrific popcorn entertainment.

The film received a PG-13 rating but I do not recommend the film for kids under 18 years of age. The film is darkly violent with a callousness and brutality that belies the teen friendly rating. Parents use your discretion.

Movie Review Quantum of Solace

Quantum of Solace (2008) 

Directed by Marc Forster 

Written by Paul Haggis, Neal Purvis, Robert Wade

Starring Daniel Craig, Mathieu Amalric, Olga Kurylenko, Dame Judi Dench, Jeffrey Wright 

Release Date November 14th, 2008

Published November 13th, 2008 

Much of the juice of Quantum of Solace rides on whether you bought the whole James Bond-Vesper Lind romance from 2006's Casino Royale. I did not. Thus witnessing Quantum of Solace becomes something of a struggle for motivation. To enjoy it. is to suspend disbelief in an uncomfortable fashion. Believe that Bond could leap through fiery hallways without being burned? No problem. Believing Bond could be shot at more than Dick Cheney's hunting partners and live to tell? Sure, I can buy that.

But trying to believe that the cold hearted ladies man of 22 previous adventures could have his heart melted by a feisty government accountant. Sorry. Can't do it. Thus, Quantum of Solace gets off to a stumbling pace and builds to a non-climax climax on its merry way to promising yet another sequel instead of being the tightly wound, classy action pic it so desperately wishes it were.

Quantum of Solace picks up in the immediate aftermath of Casino Royale. Having captured Mr. White (Jesper Christianson) and begun torturing answers out of him about the shadowy organization he works for, Bond delivers him to M (Dame judi Dench) for further questioning, not before he is chased through the ancient streets of some nameless Italian mountainside.

Mr. White leads to a murder plot in Haiti involving a dangerous young woman named Camille (Olga Kurylenko), ostensibly the girlfriend of Mr. Green (Mathieu Amalric). She was to be the victim but Bond makes the rescue, something he will do several more times throughout the film. From there we are off to Bolivia where there may be oil or diamonds beneath a giant swath of desert and Mr. Green can get his hands on it by funding a military coup.

It's up to Bond to face down Mr. Green, Green's shadowy boss, and even the truly evil forces of corporate and state greed. All the while maintaining his Bond-ian cool which includes drinking, flirting and sexing when necessary. Along for different parts of the ride are Gemma Aterton as Agent Strawberry Fields and Giancarlo Giannini reprising his rather confusing role from Casino Royale.

Directed by Oscar nominee Marc Forster from a script by Oscar winner Paul Haggis, Quantum of Solace should be a great movie but settles for being a good movie. The action is cut to MTV style quick cuts that whip audiences through action scenes so we won't notice any sloppiness. We don't but often we are so dizzy we don't care.

The script makes more sense than much of Casino Royale, but beginning as it does on the false note of Bond's tragic 'love story', it is hamstrung from the start. The script lacks depth beyond its obvious action propellants, leaving only the character of James Bond to keep us from getting up and walking out. Thank heaven Daniel Craig rises to the challenge.

Craig is the baddest of all Bond's and because of him we are compelled past the film's worst flaws. He may not have any interest in sipping martinis or repeating his name and he is entirely without gadgets, but when he invites Gemma Aterton's Strawberry Fields to help him locate something in his bedroom you can't help but smile, knowing the next scene will find Ms. Fields sans clothes. Bond's way with women is one of the few elements of classic Bond to survive the reboot.

The other piece of classic Bond comes in the spectacular credit sequence. The animated opening featuring the nude bodies of gorgeous babes rising from desert sands has the bold, psychedelic look that has defined the Bond credit sequences of the past.

Did I like Quantum of Solace? Kind of. I liked Daniel Craig. I liked individual scenes and I liked the Bond babes, if only for serving their purpose as classic eye candy. But Quantum of Solace comes up short of being a movie I am wild about. It lacks a unifying plot. It lacks one truly breathtaking scene that might make this good movie into a great one, even beyond the plot trouble.

Movie Review Pride and Prejudice

Pride & Prejudice (2005) 

Directed by Joe Wright 

Written by Deborah Moggach

Starring Keira Knightley, Matthew Macfadyen, Brenda Blethyn, Donald Sutherland, Tom Hollander, Rosamund Pike, Jena Malone, Dame Judi Dench

Release Date November 11th, 2005

Published November 10th, 2005 

My initial reaction to hearing that Pride & Prejudice would once again be adapted to the big screen was a massive groan. How many times can filmmakers tap this same material for a movie; I whined. I was rather surprised then, in my research, to find that Pride & Prejudice had been adapted for the big screen, in its original form and setting, only one other time. In 1940 Greer Garson essayed the role of romantic heroine Lizzy Bennett opposite Sir Laurence Olivier's stolid Mr. Darcy.

The familiarity that induced my groan of reluctance and apathy was actually related to the various attempts to update Pride & Prejudice over the years. In 2003 Lizzy became a New York college student and in 2004 a Bollywood style song and dance romantic. And let us not forget the many offspring that, while they are not straight adaptations, owe their various romantic cliches and complications to Jane Austen's seminal work.

Movies such as Bridget Jones' Diary, the multiple pairings of Tom Hanks and Meg Ryan and really any attempt Hollywood has made at creating romance on the big screen owes a nod, in one way or another, to the conventions cemented by Pride and Prejudice and Jane Austen.

How this brand new adaptation of Pride & Prejudice overcomes this over-familiarity is extraordinarily simple. The film, directed by big screen novice Joe Wright, remains as faithful as possible to Austen's work and casts exceptional actors to bring the already stellar material to life. The result is a movie that does not redefine Austen's masterpiece on the big screen, but rather allows it to exist anew for audiences who may never have experienced it before.

Keira Knightley stars in Pride & Prejudice in the role of Lizzy Bennet the 2nd of five daughters of Mr. and Mrs. Bennet (Donald Sutherland and Brenda Blethyn). As we join the story Mrs. Bennet is obsessed with marrying off at least one of her daughters, preferably her oldest Jane (Rosamund Pike), because, with no male heir to take over the family land, when Mr. Bennet passes, the family stands to lose all of the land and their wealth upon his death.

Only a rich husband who can provide for the Bennet woman until each is married off, can save the girls from destitution. Thus it is big news when a new neighbor, a moneyed young nobleman, Mr. Bingley (Simon Woods); announces his intention to appear at a formal occasion the next weekend. Each of the Bennet women will have to be on their best behavior to help Jane attract Mr. Bingley whose wealth is far more attractive than his slight and awkward appearance.

At the party Mr. Bingley arrives with his sister Caroline (Kelly Riley) and a fellow nobleman Mr. Darcy (Matthew Macfadyen); a stuffed shirt with an air of superiority that surpasses mere arrogance. Darcy clearly feels everything and everyone is below his standards and even after meeting the spirited and lovely Lizzy; he scoffs that she is not handsome enough to tempt him. Regardless of Darcy's attitude, Bingley is smitten with Jane Bennet and it is Bingley and Jane that keep our antagonistic lovers, Darcy and Lizzy in contact.

The dislike expressed by Darcy for Lizzy is mutual. She overheard his 'handsome' quip; and has vowed to loathe him for all eternity. However, after a number of paths crossings and numerous misunderstandings and missed intentions it's clear that Darcy and Lizzy are meant for one another. The plot, adapted by Deborah Moggach, throws in some well reasoned roadblocks to keep our two lovers apart but it is Austen's shrewd dialogue and the performances of Knightley and MacFadyen that make Pride & Prejudice rise above typical romantic cliches.

Keira Knightley is absolutely radiant in the famed role of one of literature's shining lights of romantic optimism. Helping us forget her misanthropic turn in the ugly and forgettable Domino, Knightley reestablished herself as a star of the future and an actress to be reckoned with.

Matthew Macfadyen, in his first major international role, essays an aristocratic, measured, and intelligent Mr. Darcy whose romantic side is cloistered in a wall of self defense. Darcy's money has made him suspicious of romance and looking toward marriage as an arrangement of interests and not in any way related to destiny, fate or love. Macfadyen, like his character, comes to life in Lizzy's presence and his wall of defenses crumble in a beautifully acted scene where Darcy and Lizzy argue in the rain.

The supporting cast of Pride & Prejudice is equally as delightful as its two leads. Brenda Blethyn is the standout as Lizzy's busybody mother. Her desperate need to see her daughters wed to wealthy men is the film's driving force. Is she annoying? Yes. But, it's part of who this character is and if you accept this story you have to accept her. Each of the remaining Bennett sisters make lesser impressions but not so much that they hurt the rest of the picture. Best of the rest is Jena Malone as the impetuous Lydia Bennett who runs off and marries the foul soldier boy Mr. Wickham.

A period romance is a tough sale to modern audiences, even one with the literary cache of Pride & Prejudice. Look at Shakespeare, his plays have been successful in movie theaters only when updated with modern reimagining's or in the case of Romeo and Juliet, a bumping soundtrack and some cool looking guns in place of Shakespearean-swords.

Pride & Prejudice itself has been reimagined with modern trimmings but as this new film version shows, the original is an untouchable masterpiece. That is because; more important than her romantic ideals, Jane Austen's words are her true subject. It is the way her characters communicate their feelings that is as much or even more entertaining than how they act on those feelings. You can update the plot; it is a clever romantic plot -especially by modern romantic comedy standards- but without the words the impact is lost.

The words of Jane Austen, only slightly altered here by screenwriter Deborah Moggach, are smart, funny, warm and witty. Every word has its own sub-textual joy. There is joy and pain in every syllable, a deep meaning in every phrase and a romantic sigh in every pause. The words of Jane Austen have stood the test of time for a reason folks.

One of the great things about the written word is its ability to last forever. The words of Jane Austen in Pride & Prejudice will, no doubt, last forever because of their beauty, wit, and romance. Now those words are also immortalized in a cinematic form that also can last a lifetime in DVD collections of millions of romantics and fans of great words.

Movie Review The Chronicles of Riddick

The Chronicles of Riddick (2004) 

Directed by David Twohey

Written by David Twohey

Starring Vin Diesel, Karl Urban, Dame Judi Dench, Keith David, Thandie Newton, Colm Feore 

Release Date June 11th, 2004 

Published June 16th, 2004 

2000's Pitch Black was a surprise hit thanks to the combination of hardcore sci-fi fans and a low budget. The biggest thing to come from Pitch Black was not its grosses but it's star, the bald-headed muscleman Vin Diesel. Four years later, up the budget and the star power and the sequel The Chronicles Of Riddick has the look and feel of a blockbuster. In other words, the antithesis of it's origins. More proof that a bigger budget doesn't make a better movie.

Vin Diesel returns as the anti-hero Riddick. With his glowing eyes and muscled physique, Riddick is supposedly the most dangerous man in the universe. Since escaping from the last uninhabitable planet, Riddick has been leaping from one planet to the next, narrowly avoiding the Mercs, a group whose gig is like bounty hunters but with a different title.

A group of bounty hunters, err Mercs, led by Toombs (Nick Chinlund) have been hard on Riddick's trail for a while but with little success. After finally getting their hands on him, Riddick finds a way to escape and take over their ship. Crash landing on another planet, Riddick comes face to face with a rare man from his past who doesn't want to kill or capture him, Imam (Keith David). He’s a man whom Riddick saved four years ago, one of three holdovers from Pitch Black.

As luck would have it, Riddick has crashed right in the middle of an invasion by a “convert or die” warlord clan called Necromongers, led by a man called Lord Marshall (Colm Feore). Imam asks Riddick if he will help fight the Necromongers, who kill anyone who refuse to join them. Riddick isn't interested in fighting for a cause other than himself. It's only when the Necromongers threaten him that he fights back.

Honestly, most of the plot is rather lost on me. Somehow, Riddick is the only man who can fight the Necromongers, something about his nearly destroyed race called the Furions. Anyway before Riddick can get down to pounding Necromongers he is recaptured by the Mercs and taken to yet another ridiculously, uninhabitable planet. It's a prison camp where he finds Kyra, or Jack or both. She was Jack in Pitch Black but played by a younger actress, now she's Kyra and played by Alexa Davalos. (See the original to make more sense of that)

Where to begin with this film’s problems? How about Dame Judi Dench who while radiant and always credible as an actress, can't make the film’s idiotic, nonsensical dialogue sound plausible. Poor Thandie Newton has an even harder time with her sub-Lady Macbeth role as Lady Vaako, the wife of the Necromongers’ second in command Lord Vaako played far more credibly by Karl Urban.

Worst of all though is Colm Feore who is so badly miscast. Colm Feore is a believable actor playing a conniving lawyer or maybe an Enron executive but as a bad guy tough enough to beat up Vin Diesel, I wasn't buying it. If this guy could take Riddick then why are we watching this movie? Give me an actor of some bulk or at least a Rutger Hauer type who could bellow Riddick to death. That I could believe.

Look, Riddick is entirely, stupidly contrived sci-fi, low on the sci, high on the fi. This is a big dumb loud action movie that claims the title sci-fi only for its space setting. Regardless of that, the big dumb loud action is well staged, well shot and a whole heck of a lot of fun.

Vin Diesel does what Vin Diesel does, kicks ass with an occasional bit of dark humor. The fight scenes are badass and the effects are pretty good, especially the burning hot sun on the prison planet that melts people, very cool gory effect.

Did I like Chronicles Of Riddick? Kind of. Take it for what is and don't expect much else and you can be viscerally entertained. I prefer my sci-fi with a little more intellect but occasionally a big dumb loud action adventure, if it's technically proficient, can work on me. Some of Chronicles of Riddick work. What doesn't, really doesn't.

Movie Review: The Shipping News

The Shipping News (2001)

Directed by Lasse Hallstrom

Written by Robert Nelson Jacobs

Starring Kevin Spacey, Julianne Moore, Judi Dench, Scott Glenn, Cate Blanchett 

Release Date December 18th, 2001

Published December 17th, 2001 

E. Annie Proulx's bestseller The Shipping News preceded Oprah's book club by a few years but if the film is anything like the book then it would fit Oprah's book club perfectly. The Shipping News is that kind of non-controversial life affirming claptrap that Oprah extols on a weekly basis. The film, adapted for the screen Robert Nelson Jacobs and directed by Lasse Hallstrom, the master of life affirming claptrap, stars Kevin Spacey as Quoyle.

While living a miserable invisible existence, Quoyle is finally noticed by Pedal Bear (yes I said Pedal Bear), played by the lovely Cate Blanchett. Pedal however is not as soft as her name would suggest. She uses Quoyle for room and board while cheating on him. Pedal does manage to have a child with Quoyle, but isn't much of a mother to Bunny, played by the Gainer Triplets Lauren, Kaitlyn and Alissa.

Quoyle is a good father but far too dull for Pedal who continues to run around on him until she is killed in a car wreck. Quoyle and his daughter pick up their lives and leave to live with Quoyle's Aunt Agnis (Dame Judi Dench) in Newfoundland. There, Quoyle gets a job at a local newspaper where he writes the shipping news, a very big deal in the small fishing community.

Scott Glenn is Jack Buggit, the paper's eccentric owner who hires Quoyle despite the fact that Quoyle has no writing experience and while he will be writing about boats, Quoyle hates water. This is supposed to be cute and quirky but it plays as baffling and bizarre. Soon after landing a job he's not qualified for, Quoyle meets the obligatory movie love interest. Her name is Wavy Prowse (yes I said Wavy) (Julianne Moore). Why? I have no idea why. 

Maybe I'm too cynical for this film, or any film with characters named Wavy, Pedal and Bunny. Oh and don't forget Tert (Pete Postlethwaite) the newspapers manager and Beaufeld Nutbeem (Rhys Ifans) the paper’s international writer. Of course Ifans is one of the few actors who could pull off a character named Beaufeld Nutbeem. 

The Shipping News is a typically Lasse Hallstrom movie. It's prosaic and slow though lovely to look at. He's terrific at soft surfaces but even more adept at softheaded narratives with all of the memorable qualities of a barely remembered dream. All of Lasse Hallstrom's films seem to strive for deep meaning but they almost always end up with little more than surface emotion and not much else. I apologize if you are someone who enjoys Lasse Hallstrom's gauzy, bleary, boring movies but I cannot begin to understand why anyone would enjoy them.

I had hoped this film would be a return to form for Spacey after consecutive dull performances in Pay It Forward and K-Pax. Sadly though, Spacey in The Shipping News continues in his dewy-eyed schlep role, no passion, no vigor, nothing of Lester Burnham or Verbal Kint or John Doe. Even Spacey's screen chewing presence in The Big Kahuna is preferable to his recent string of dull losers.

The Shipping News sinks.

Sorry I couldn't help myself.

Movie Review The Importance of Being Earnest

The Importance of Being Earnest (2002) 

Directed by Oliver Parker 

Written by Oliver Parker

Starring Rupert Everett, Reese Witherspoon, Colin Firth, Frances O'Connor, Dame Judi Dench

Release Date May 17th, 2002

Published May 17th, 2002 

When considering the works of Oscar Wilde one should wonder what this most quotable of writers would say of our current culture. Wilde believed that art should not be popular, and when you consider modern American cinema you might say that we have achieved Wilde's belief. Indeed art in modern American cinema is not popular. Popular as defined as gaining widespread viewership and appreciation. Think of the best filmmaking in this day and age, the most artistic works are very often the least seen. Such is the case with the most recent of Oscar Wilde's works adapted for the screen The Importance Of Being Earnest, artistically brilliant but by previous definition not popular.

The film was adapted and directed by Oliver Parker who previously adapted Wilde's An Ideal Husband to great artistic and little popular success. Parker here re-teams with his Ideal Husband star Rupert Everett, who takes the role of Algernon. One of those brilliant cads who seems to have endless charm and wit yet never a job or responsibility. Algernon's closest friend is Earnest or rather Jack depending on who he is speaking to. Earnest-Jack is played by Colin Firth as an English nobleman who keeps up the appearance of class by taking the name Earnest when in the city and the more respectable name of Jack when at his country estate. Complications arise when as Earnest he meets the woman of his dreams Gwendolyn (Frances O'Connor). Gwendolyn knows him only as Earnest and has a particular affinity for the name that makes confessing his real identity very difficult.

Back at Jack's country estate his new ward Cecily (Reese Witherspoon) is nursing a small crush on the man she only knows as Jack, that is until a visit from Algernon. Of course this too has complications as Jack has warned Algernon to stay away from the country house and especially Cecily. So while Jack is in the city trying to win the hand of Gwendolyn, Algernon travels to the country to meet Cecily. Of course he cannot go as Algernon because the staff would send him away so HE takes on the name Earnest and poses as Jack's brother. Meanwhile Jack as Earnest is trying to convince Gwendolyn's mother Lady Bracknell (Dame Judi Dench) that he is of proper breeding to marry her daughter. Unfortunately his family history is conspicuous at best.

Well everyone knows where this story is going as similar more recent stories have populated films for years. With Oscar Wilde it is never about where the story is going but how it gets there. Getting there in a Wilde story is all about witty repartee and The Importance of Being Earnest overflows with quotable dialogue and farce. Dame Judi Dench especially gets on with the witty dialogue, it seems every line from her character is memorable. Indeed each character's dialogue is so good the story becomes superfluous.

Director Oliver Parker perfectly captures the spirit of Wilde's text, just as he did in An Ideal Husband and he surprisingly tops that film’s sly humor. The performances by Colin Firth and Rupert Everett are superb, especially Everett who seems to have been born for this material. Reese Witherspoon puts on a strong English accent and wears it well. She has a couple of brilliant scenes with Frances O'Conner, likely the funniest in the film.

If I had any complaints about the film they would be that the story goes beyond meaningless. There really is no meaning in the film whatsoever, which may actually have been Wilde's aim, but it strikes a false chord. In fact at the very end of the film Wilde's dialogue calls the whole film’s story into question with a subtle reference to the film’s title that implied an entirely different story altogether. To explain it would ruin the surprise, but it was a reference that in Wilde's time was a scandalous aside despite now having less meaning and impact. See it for yourself if you can figure out the meaning let me know.