Bond

Having loomed large over the year's cinematic release schedule, taunting fans and skeptics alike with promises of a bold new direction, it's finally here in our cinemas... and it's good. Oh how it's good!

One of cinema's longest running series, the Bond movie is no stranger to reinvention. On Her Majesty's Secret Service, For Your Eyes Only, The Living Daylights, and Goldeneye have all sought to strip back the more frivolous elements to expose a leaner, tougher, and more satisfying Bond. New Zealander Martin Campbell (the man who helmed the last overhaul) has done what few thought possible: eclipsed his previous directorial effort and given us the darkest, most honest Bond movie yet.

Based on the first of Flemming's novels, Casino Royale is the last to be transferred to the big screen. It's Bond's first mission, having just made the two kills necessary for double-o status, and he's going to have to adapt his thuggish style quickly if he's to succeed in his new role. After a risky money making gambit is foiled, terrorist banker Le Chiffre is in desperate need of clawing back the lost capital before his unsavoury clientele come looking for him. Cue a high stakes game of poker with a ten million buy in, and MI6's best card player there to stop him from winning. Can Bond keep his ego in check and stop Le Chiffre?

Daniel Craig is a perfect fit for Flemming's much loved British spy; a believable mix of sophisticated, charming, caustic, and ruthless. More importantly this is a Bond that is fallible and rough round the edges. Mistakes are made and harsh lessons learnt as he seeks to refine his craft. Along with the darker, more complex spy, come some of the most gritty and realistic fight scenes yet. Bond is a licenced killer, and we are not spared from the ugly violence that is his stock in trade. During the lengthy casino segment, this brutality is perfectly juxtaposed with the smooth tuxedoed playboy exterior. Craig handles both sides of the character brilliantly, and you really believe he is Bond.

Equally impressive is Eva Green as the fiery, stunningly gorgeous Vesper Lynd. The most desirable Bond girl ever, early scenes between her and Bond are laced with fierce yet flirtatious dialog. Vesper challenges Bond on many levels, and the relationship between the two characters proves a pivotal moment in the movie. And those eyes... how impossibly attractive are they?

The back to basics approach pays dividends elsewhere. The central Poker game is filled with edge of the seat tension. Watching the cards slowly turned over, wondering who will win the hand, it rivals that of any action sequence. Exotic locales (one of the original key ingredients of a Bond film) are back to the fore. Sweeping aerial establishing shots over lakes and mountains act as jaw droppingly vivid portraits of the mostly European setting. This is a movie that cuts to the heart of what makes Bond so appealing to so many.

It's not without a few faults however. At 147 minutes this is a long movie, and it doesn't always use the time to best effect. The action driven first act, whilst viscerally entertaining, does little to advance the story. Conversely, a key relationship later in the movie feels a little rushed in places robbing some of it's believability. In light of all the movie accomplishes however, these are minor issues. Besides, when bond finally gets to deliver that line and the music starts up, you'll a have a grin on your face so large it will obscure any shortcomings.

Casino Royale should exceed every bodies expectations. Craig gives us a complex Bond with a depth of character unheard of in previous outings. Campbell has done the impossible, making a tense character driven installment that doesn't rely on gadgetry and set piece action. I doubt anyone will envy the Director who has to follow this. Delivering on everything that it promised, Bond is most definitely back!

DVD Round-up

Alas, not all the movies I watch end up on the blog (I know, your shocked and saddened at the revelation), so here is an impromptu round-up of recent reels.

Lucky Number Slevin - A self consciously hip thriller in the mold of 90's post Tarantino. Thankfully the knowingly cool air gives way to a slick, enjoyably tangled noir gangster thriller. Willis, Freeman, and Kingsley are on good form; Hartnett is better as the wrong guy in the wrong place. Nicely topped off with an unexpected sucker punch ending (though the game is given away for those paying attention).

Key Largo - Black and white Bogart and Bacall, but don't go expecting the sizzling Big Sleep dialog. Instead this is a tense showdown of a movie, set within the confines of a hurricane battered hotel. Classic slice of golden age noir; director John Huston's other movies from the era are on my Christmas list.

Ring - Having sat on my "to watch" pile over four years it finally finds it's way into the disc spinner. Sadly the protracted wait blunted the impact to disappointingly non-scary; final scene of the video is still brilliantly unsettling though. It's subsequent influence on Japanese horror is clearly seen in movies and games today.

Appleseed - The CGI remake is miles better than the Saturday cartoon original. Beautiful to look at, with fluid motion captured animation. Some may find it a little harsh compared to traditional techniques, but it suits the hi-tech storyline to a tee. Kick ass soundtrack by the Boom Boom Satellites too.

HellBoy - Solid comic book adaptation by Guillermo del Toro (look out for Pan's Labyrinth in cinemas this month). Ron Perlman is ideally cast as the big red guy, fighting evil in the form of demons and Nazis. Nice turn by Selma Blair as the love interest, and John Hurt lends some English austerity to proceedings.

La Cite des Enfants Perdus - Visually stunning, wonderfully inventive and imaginative slice of Jean-Pierre Jeunet. Retaining the look of Delicatessen, this is a sci-fi fantasy par excellence. Ron Perlman (albiet much younger) and Judith Vittet carry off a beautiful relationship, in a twisted world of stolen dreams.

Heavy Metal - Because sometimes you feel like an adolescent kid in need of blood, aliens, heavy metal music, and cartoon breasts. Cult classic.

The Prestige

"Are you watching closely?"... if your answer to Christian Bale's opening line isn't a resounding "yes" then you are in trouble. Director Christopher Nolan has crafted a cinematic slight of hand worthy of a great magician, and it demands that you pay very close attention.

Set in late Victorian England, The Prestige is a tale of two up and coming stage magicians. Robert Angier (Hugh Jackman) is the stylish showman, whilst Alfred Borden (Christian Bale) the working class man dedicated to his craft. Beginning their careers together -as assistants for an aging performer- a tragic accident during an act gives rise to a irrecoverable rift between the two; in turn leading to a bitter, long stretching rivalry.

Told through a complex narrative structure layering flashback within flashback, each switching the point of view between the two magicians, the opening twenty minutes are balanced precariously between compellingly convoluted and "what the fuck is going on?". Once the elaborate framing is in place though, the mystery of the story will have you firmly ensnared. Sadly this makes it all the more difficult to talk about the story; how much to give away? what details can safely be revealed? In truth the answer to both those questions should probably be "none" (but that would make for a pretty short and useless review).

When Borden performs the ultimate magic trick, Angier becomes obsessed with discovering the secret of how it is done. Enlisting the help of his stage engineer Cutter (another excellent performance from Michael Cane), they devise their own version of the trick for the finale of Angier's show. Despite the rapturous reception of the performance this isn't enough for Angier, and his obsession with how Borden does the trick becomes all consuming. The repercussions of this mark a turning point in film's mood, mystery and intrigue giving way to something dark, sinister, and unsettling.

Watching closely will reap rewards elsewhere. This is a lavishly shot piece, rich in period detail. Performances from everybody (including David Bowie as the odd Nikolas Tesla) further enhance the illusion of the Victorian era. This is a very character driven movie, preferring to progress plot through dialogue rather than flashy set pieces. That's not to say the movie is light on visual spectacle, far from it, as impressive stage shows complete with their Gothic like apparatus depict the magicians in the arena they live for. It is also a movie littered with visual symbolism and foreshadowing, a detail certain to repay repeat viewings.

Twisting and turning it's way to the big reveal, Nolan boldly dispenses with the notion of "good guy" against "bad guy". Falling deeper into the moral vacuum of their obsession fulled rivalry, neither Angier or Borden holds the moral high ground. With each twist of trickery your loyalties will shift between the two characters to the point where it can be difficult to sympathise with either of them. It's this that will prove to be the sticking point for many people, more so than the convoluted narrative or drawn out revelations. Whatever your feelings toward the characters and what they have become, the masterful storytelling and brilliant performances will draw you willingly to the end. To say any more than that would spoil the surprise.

An expertly crafted piece of storytelling, The Prestige is an intriguing and chillingly dark exploration of single minded obsession, revenge, and sacrifice to an art. One that will stick splinter like in your thoughts long after the final curtain.

Get your arse to a cinema!

It's here! The month all us movie watchers have been waiting for is finally upon us. To some it is merely called November, but to others this is the Golden Month of the calender; a time when release dates of the greatly anticipated movies coalesce. Indeed so busy have I been out watching these giants of the release schedule, I've neglected to keep this dusty unread corner of the blogosphere up to date. But fear ye not; it's Sunday, and I'm about to put the coffee on!

The Last Kiss

Staring Zach Braff, this remake (oh how I long to start a review without having to say that) of Italian flick L'Ultimo Bacio has been eagerly anticipated by the Garden State crowd. This time though Braff's influence is solely in front of the lens, with director Tony Goldwyn behind it. Can this tale of neophyte thirty somethings leave the same mark on it's audience?

Michael (Braff) is nearing the age all those who've seen Logan's Run dread. Far from being chased by a man in a black and white jumpsuit, he finds himself in a loving relationship with the beautiful and recently pregnant Jenna (Jacinda Barret). Life couldn't be better for him, or could it? (or could it?... etc.) Like his similarly aged friends, Michael is struck with anxiety about his future. Fearful that everything is laid out and no more surprises are in store, he finds temptation at a wedding reception in the delightful form of Kim (Rachel Bilson).

At it's heart this a story about the difficulties of relationships, and particularly the stupid decisions men often make when they feel trapped by them. For the most part it works; but watching these grown men and women struggle and fret over the details of there protected, actually rather comfortable lives, it isn't always convincing. There is a sore lack of communication between the couples, which doesn't really gel with the point they are supposed to be at in their lives. You'd expect a greater deal of emotional maturity to be on display.

Despite these issues, solid performances from the main cast and the issues raised by the script make this an engaging (if not memorable) watch. The subplot involving Jenna's parents actually makes for one of the most believable elements of the movie, but it takes a back seat to the troubles of the younger couples. Credit is due for not offering any easy answers to the unhappy situations faced by the characters (something of a surprise for a Hollywood studio flick); and the ending is suitably non-committal.

Probably the most adult relationship movie you'll see this year, The Last Kiss doesn't quite live up to it's potential.

The Departed

The man with that pair of eyebrows is back behind a camera once more. This time he is helming a remake of Infernal Affairs (which I'm ashamed to admit I still haven't seen), the epic Hong Kong gangster flick from 2002. Transplanted to Irish mob run Boston, is The Departed 150 minutes of Scorsese at his harsh and violent best?

A tale of two rats, The Departed centers around the intertwined lives of two people from opposite sides of the law. Billy Costigan (DiCaprio) is a failing state police officer given the chance to go undercover as a mole in Frank Costello's (Nicholson) Irish mob. Counterpart Colin Sullivan (Damon) is a Costello mobster, undercover as a police officer in the department tasked with bringing down Costello. Suspicions and accusations give rise to a series of violent encounters as both moles are tasked with finding out the identity of the other.

With twenty minutes of back story before we even see a title card, you know your in for an epic journey. Thankfully Scorsese has paced things perfectly, and this tightly crafted tale uses every minute of it's lengthy runtime to full effect. Intense character driven scenes are punctuated with brutal, visceral moments of violence giving an engaging rhythm to the unfolding story. Despite the often harsh images things never feel gratuitous, just grittily realistic.

Assembling possibly the finest cast in a movie this decade, to say The Departed is excellently acted would be an understatement of vast proportions. I'm no fan of DiCaprio, but both he and Damon are eminently believable in there roles as the men with double lives. Jack Nicholson is ideal as the mob boss Costello, keeping scenery chewing to a minimum. Supporting the main three we have Martin Sheen, Alec Baldwin, Ray Winston, and a brilliantly foul mouthed Mark Walhberg, all on the best form of their lives. Relative newcomer Vera Farmiga plays an important role as psychologist Madolyn, caught in between DiCaprio and Damon; it's clear people will be taking note of her after this.

Faulting the movie is hard to do without resorting to nit picking. There are some real jaw on floor shocks as things come to a head, but no real twist in the tale; a shame given the subject matter. Farmiga's relationship with DiCaprio and Damon doesn't quite reach the level it clearly wanted to achieve. One or two of the Boston accents are a little less than convincing at times... but this is all academic. When a movie is this good, you'd be foolish to dwell on such minor niggles.

Expertly crafted and superbly acted, The Departed is Scorsese's most satisfying movie since Casino. Set an evening aside to catch a master filmmaker at work.